Review on the exhibition
误入，风景 Seen Through Possible Landscapes
误入，风景 Seen Through Possible Landscapes
Yumo Wu and tcanx
武雨墨以个人感知重新观察摄影本体，试图对其中语法不断拆解，并再造原有的结构，为观看提供新体验。艺术家在 「误入，风景」 带来六张摄影，若隐若现的自然色度作为共有线索将多个系列串联。《房间与照相片》透过真实照相片与虚拟生成的图像的混淆体，回溯了摄影史中在房间内的原初观察，藉以探讨观察者与所观察空间的流动关系。而在《关于树的谈话》中，多层次的图像在持续重复的拍摄行为间产生，树的形态穿针引线般化为其他自然元素。图像处于无法被语言准确定义的空间，在层层歧义下到达心中风景。她希望摄影系统的潜能可以持续更新，让其逐渐逼近至新的媒介。Wu re-observes the ontology of photography with her personal perception. She attempts to dismantle the underlying syntax and reconstruct the original structure to deliver a new experience for viewers. In her exhibition Seen Through Possible Landscapes, the artist presents six photographs, in which the subtle shades of nature serve as a common thread that connects the series. The Room and Photographs traces the history of photography back to the original observation in the room through the confusion of real photographs and virtual images, thus exploring the fluid relationship between observers and the space they observe. In Talks on Trees, the multi-layered image is captured in repeated acts of photographing, as the shape of the tree transforms into other natural elements inch by inch. Image is a space that cannot be precisely defined by language, which reaches the mental landscape under layers of ambiguity. She hopes that the photographic form can evolve and renew its potential to gradually approach new mediums.
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不同于传统摄影对复现现实的强调，武雨墨的摄影来自于对现实的偏移。此系列中的注视有两套视觉运作——向外的镜头眼，和向己的血肉眼，两眼同时对焦，在其复视的微小空隙之间，风景和静物从透视法分离，物理空间的坐标被切割、打散、重组。在此偏移的现实（或是现实的偏移）中，一切实体都变得可被穿透，也包括藏于照相机后的摄影师本人。或许观看这组照片的最佳方法正是其被创作出的方法——当你双眼紧闭，外界景象的反射光穿过眼睑触抵眼球，心象风景于焉而形。Unlike traditional photography that highlights the representation of reality, Wu's work derives from a deflection of reality. The gaze in this series has two sets of visual operations, namely the outward-facing lens eye, and the inward-facing human eye. As both eyes are simultaneously in focus, between the tiny gaps in two visions, scenery and still life are separated from perspective, and the coordinates of physical space are fragmented, scattered and reorganized. In the deflected reality (or the deflection of reality), all entities become penetrable, including the photographer behind the camera. Perhaps the best way to view these photographs is exactly the way they are produced. That is, close your eyes, let the reflected light from the outside world pass through your eyelids into your eyeballs, and then the mental landscape will take shape.
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Yumo Wu, Seen Through Possible Landscapes, Imaginary Z, Hangzhou, China, April-May, 2024
不同于传统摄影对复现现实的强调，武雨墨的摄影来自于对现实的偏移。此系列中的注视有两套视觉运作——向外的镜头眼，和向己的血肉眼，两眼同时对焦，在其复视的微小空隙之间，风景和静物从透视法分离，物理空间的坐标被切割、打散、重组。在此偏移的现实（或是现实的偏移）中，一切实体都变得可被穿透，也包括藏于照相机后的摄影师本人。或许观看这组照片的最佳方法正是其被创作出的方法——当你双眼紧闭，外界景象的反射光穿过眼睑触抵眼球，心象风景于焉而形。Unlike traditional photography that highlights the representation of reality, Wu's work derives from a deflection of reality. The gaze in this series has two sets of visual operations, namely the outward-facing lens eye, and the inward-facing human eye. As both eyes are simultaneously in focus, between the tiny gaps in two visions, scenery and still life are separated from perspective, and the coordinates of physical space are fragmented, scattered and reorganized. In the deflected reality (or the deflection of reality), all entities become penetrable, including the photographer behind the camera. Perhaps the best way to view these photographs is exactly the way they are produced. That is, close your eyes, let the reflected light from the outside world pass through your eyelids into your eyeballs, and then the mental landscape will take shape.
Yumo Wu, Seen Through Possible Landscapes, Imaginary Z, Hangzhou, China, April-May, 2024