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从《吠盲》到如今的《呼吸》,邬树楠总是能将特定而有限的素材,提炼为交织着转喻和隐喻的个人化图像,越过了生活的逻辑,陷在混沌深渊般的精神逻辑里。这些照片不是命名的游戏,而是认知的更替。鲜活的花木在如今很容易看到,邬树楠却视若无睹,反而在其《呼吸》系列中呈现了没有生命的塑料花和消失生命的枯花。我相信对于他来说,鲜活的记忆、知觉仍在,或许还很充溢,但正因为知觉和记忆的存在,才会有这些照片。
From “barking” to today’s “breathing,” Wu Shu-nan always can refine specific and limited material into a personalized image that is intertwined with metonymy and metaphor, transcending the logic of life and being trapped in the chaos-like spiritual logic in. These pictures are not named games, but cognitive changes. Fresh flowers are now easy to see, Wu Shuguang turned a blind eye, but in its “breath” series of lifeless plastic flowers and dead flowers. I believe for him, vivid memories, percepts are still, perhaps very full, but because of the existence of perception and memory will have these photos.