黄佩姗：城市系统和情感景观的诗意互文
Peishan Huang: Poetic intertext of urban systems and
emotional landscapes
Peishan Huang: Poetic intertext of urban systems and
emotional landscapes
Interviewer: 斯
Date: 04/06/2024
Keywords: poetic / urban systems / emotional landscapes
Date: 04/06/2024
Keywords: poetic / urban systems / emotional landscapes
黄佩姗,1994年出生于云南大理,白族,现工作和生活于纽约和上海。她于 2018 年毕业于中国传媒大学广告学院网络与新媒体系并获得学士学位，在 2022 年取得马里兰艺术学院跨学科纯艺术硕士学位。她的作品曾展出于三影堂摄影艺术中心，中国广告博物馆，清影艺术空间，洛杉矶 M+B Gallery，纽约前波画廊，纽约 LATITUDEGallery，Museum 54 等。
黄佩姗的创作跨越多种媒介，包括图像、影像、雕塑和装置。她的作品深入探讨物理景观和情感景观之间的相互作用，探索物体和空间的情感共鸣，通过对色彩、材料和诗意情感的巧妙运用以及通过它们所创造的叙事来表达审美观点。在过去两年中，黄佩姗通过“人造自然“系列及其衍生子系列，探索了城市系统与自然和人之间的多重关系。她的作品还关注生活在当代城市景观中的少数民族群体。
Peishan Huang, born in Dali, Yunnan Province in 1994, is a Bai ethnic and currently lives and works in New York and Shanghai. She received her bachelor's degree in Internet and New Media from the School of Advertising Communication University of China in 2018 and Master's degree in Multidisciplinary Fine Arts from the Maryland Institute College of Art in 2022. Her work has been exhibited at Three Shadows Photography Art Center, Advertising Museum of China, Inna Art Space, M+B Gallery, Los Angeles, Chambers Fine Art, New York, LATITUDE, Gallery, New York, Museum 54 and so on.
Peishan’s practice involves a variety of mediums including photography, moving images, sculpture, and installation, and she specializes in using mixed mediums to speak about content. Her work delves into the interplay between physical and emotional landscapes, exploring the emotional resonance of objects and spaces, and expressing aesthetics through the colors, textures, and poetic emotions of the materials and the narrative given to her work through them. Over the past two years, she has been discussing the relationship among urban systems, nature, and human beings in her series of works “Artificial Nature” and its derived subseries. Her recent work focuses on the multiplicity of relationships between space, objects, and people, She is also concerned with the ethnic minority groups who live in contemporary city landscapes.
黄佩姗的创作跨越多种媒介，包括图像、影像、雕塑和装置。她的作品深入探讨物理景观和情感景观之间的相互作用，探索物体和空间的情感共鸣，通过对色彩、材料和诗意情感的巧妙运用以及通过它们所创造的叙事来表达审美观点。在过去两年中，黄佩姗通过“人造自然“系列及其衍生子系列，探索了城市系统与自然和人之间的多重关系。她的作品还关注生活在当代城市景观中的少数民族群体。
Peishan Huang, born in Dali, Yunnan Province in 1994, is a Bai ethnic and currently lives and works in New York and Shanghai. She received her bachelor's degree in Internet and New Media from the School of Advertising Communication University of China in 2018 and Master's degree in Multidisciplinary Fine Arts from the Maryland Institute College of Art in 2022. Her work has been exhibited at Three Shadows Photography Art Center, Advertising Museum of China, Inna Art Space, M+B Gallery, Los Angeles, Chambers Fine Art, New York, LATITUDE, Gallery, New York, Museum 54 and so on.
Peishan’s practice involves a variety of mediums including photography, moving images, sculpture, and installation, and she specializes in using mixed mediums to speak about content. Her work delves into the interplay between physical and emotional landscapes, exploring the emotional resonance of objects and spaces, and expressing aesthetics through the colors, textures, and poetic emotions of the materials and the narrative given to her work through them. Over the past two years, she has been discussing the relationship among urban systems, nature, and human beings in her series of works “Artificial Nature” and its derived subseries. Her recent work focuses on the multiplicity of relationships between space, objects, and people, She is also concerned with the ethnic minority groups who live in contemporary city landscapes.
人造自然 #5, 收藏级艺术微喷, 45.72 x 68.58cm，2021
Artificial Nature #5, Archival inkjet print, 45.72 x 68.58cm，2021
Artificial Nature #5, Archival inkjet print, 45.72 x 68.58cm，2021
A: Welcome Peishan to Artisle! Could you introduce yourself briefly?
H: 我叫黄佩姗，云南大理人，白族。我是一名艺术创作者，摄影师和美术指导，大部分时间在上海和纽约工作生活。在过去几年中， 我持续创作"人造自然 "系列及其衍生子系列，探索了城市系统与自然和人之间的多重关系。近两年开始更多地使用混合媒介讨论空间与个体与诗学。同时我也关注生活在当代城市景观中的少数民族群体。
H: I’m Peishan Huang, I belong to Bai ethnic minority, Yunnan Province, and a Bei ethnic. I am an artist, photographer, and production designer. Most of the time I live and work in Shanghai and New York.
Over the past few years, I have been creating the series of works “Artificial Nature” and its derived subseries, to explore the multiplicity of relationships between urban systems, nature, and people. In two years, I began to use mixed media more to discuss space, individuality, and poetics. At the same time, I am concerned with the ethnic minority groups who live in contemporary city landscapes.
A: Your images and photography frequently capture and presents man-made objects or artificial colors in daily life, often with great details and high saturation, yet a calm, nature-based color style as well. The combination of these elements creates a trippy yet realistic texture. How do you shape your unique style?
H: 我认为一个重要的因素是我生长的环境，它影响了我审美的形成。我很喜欢塑料制品，通常这些廉价的人造物都有非常鲜艳的颜色。小时候赶集见到的小商品、路边的广告画、当地少数民族服装配饰也大多都是靓丽的颜色，于是鲜艳的“塑料色”和“人造物”在我这里是强关联的。在“人造自然”这个系列中，我在模仿人类“模仿和模拟自然”这个行为，所以用一些吸引人注意的，靓丽的色彩来制造我想要的情景对于我来说是非常顺理成章的。
除了色彩上的偏好，一些造型和构成上的偏好则是在创作过程中逐渐形成的。早期我喜欢直接拍摄偶遇的原本就存在的场景，但后来我喜欢更多介入拍摄场景之中（staged photography），尝试在我的作品中找一种纤细轻巧又模糊的关于“摄影记录真实世界”的边界线。再比如有个阶段我很喜欢用长焦去拍摄作品，因为我喜欢空间被压缩的感觉，喜欢我的图像除了输出时候是一个平面，内容看起来也趋于平面。但后来我转而将一个平面往立体空间中发展，于是近期的大部分作品变成了从图像出发的雕塑，可以称为是图像雕塑或者雕塑化摄影（sculptural photography）吧。我觉得在我的创作中没有绝对的风格形成的节点和转型的节点，因为我会一直做尝试去推动我的创作实践，风格肯定一直会变。
H: I believe a significant factor is the environment in which I grew up, which has influenced the development of my aesthetic taste. I am really into plastic products, which are often cheap man-made objects with very bright colors. When I was a child, the small items I saw at the market, roadside advertisements, and the accessories of local ethnic clothing often featured vibrant colors. As a result, the bright “plastic colors” and “man-made objects” are strongly associated for me. In the series “Artificial Nature”, I'm mimicking the human behavior of “imitating and simulating nature”. Thus, using eye-catching, vibrant colors to create the scenes I envision feels quite natural to me.
In addition to my preference for color, some of my stylistic and compositional preferences developed gradually throughout the process of creation. At first, I liked to shoot scenes as I found them, capturing spontaneous moments. Later I became more into staged photography, exploring a delicate, slight, and ambiguous boundary of “how photography documents the real world”. At one point, I was quite fond of using telephoto lenses, as I enjoyed the sense of compressed space and the way that my images, aside from being outputted as flat prints, also appeared flat in terms of its content. But later, I started to transfer from flat surfaces into three-dimensional space, leading to my recent works which are sculptures derived from images. This could be called image-based sculpture or sculptural photography. I don't think there's a definite point in my creative journey where I settled on a particular style or transitioned into another. I constantly experiment to push the boundaries of my practice, and my style is always evolving."
Artificial Nature #1, Archival inkjet print, 71.18 x 50.2cm，2020
Ripples and Folds #8, Image transfer on aluminum, 30 × 30cm，2023
A: It seems that your lens focuses more on objects rather than capturing human emotions. What role do these objects play in your perspective? (When you look at them, do you primarily see their colors, imagine their stories, or consider the identity and meaning behind the objects themselves?)
H: 我的注意力从人转移到物实则是一个阶段性的变化。在我刚接触摄影的那段时间里，我主要拍摄纪实的内容，拍摄过很多人像。但后来有一段时间我变得非常不喜欢拍人，把注意力都放在了拍物品和空间上，也会拍摄一些抽象的概念。
至于我拍摄的物，在我眼中其实是一种比较综合和复杂的存在。我认为每一个物品不同的独特性是需要依托它们所处的环境来凸显的。当空间中存在两个不同颜色的物品和五个不同颜色的物品时，你所可能感受和思考的问题是非常不一样的。所以物本身的特质，包括材料颜色造型气味和触感等，以及它所处的环境这些所有的因素都会影响我的感受和判断。
H: My shift from focusing on people to objects has been a gradual transition. When I first started with photography, I mainly shot documentary-style content and took many portraits. However, at some point, I began to strongly dislike photographing people, and my focus shifted entirely to objects and spaces. I also started exploring more abstract concepts in my photography.
As for the objects I photograph, I see them more as a complex and multifaceted existence. I believe that the unique characteristics of each object will be emphasized by the environment in which they are situated. The presence of two differently colored objects versus five differently colored objects in the same space can lead to very different perceptions and thoughts. Consequently, the inherent qualities of the objects themselves, such as their material, color, shape, smell, and texture, along with their environment, all play a role in shaping my feelings and judgments.
平淡的诗 #2, 收藏级艺术微喷, 55.88 x 48.26cm，2021
Plain Poem #2, Archival inkjet print, 55.88 x 48.26cm，2021
A: 你在清影刚结束的展览“涟漪与褶子”中，作品多是坚硬的，工业制造质感的材料与自然柔软的线条和自然痕迹的结合。为什么选择组合这两种看似对立的质感呢？你又是如何阐述这些人造材料与“褶子”与“涟漪”这些自然图景之间关系呢？
A: In your recently concluded exhibition “Ripples and Folds” at Inna Art Space, many of your works combine materials of hard and industrial-manufactured textures with softer, natural lines and organic textures. Why did you choose to combine these seemingly opposing textures? How do you explain the relationship between these man-made materials and the natural imagery of “folds” and “ripples”?
H: 首先，透明亚克力材料是我一直以来非常常用的，因为我关注人造材料，我喜欢它透明的质感。“人造材料”的大量使用也是从之前的“人造自然”系列开始的，延续至今。我使用很多不锈钢材料，同理，它们是建造城市很常见的人造材料，坚硬冰冷又富有光泽漂亮的质感是我非常感兴趣的特质。
在这一系列作品中我想整体呈现的是一种很轻盈的日常状态。这个“褶子”的概念来自于德勒兹。他提到世界就是由一层层无穷尽的褶子构成的。物理形态上，涟漪就是一种美妙的自然褶子。褶子的包裹和展开是一种日常，像水滴起涟漪，像花朵绽放，像风吹叶尖，像一呼一吸。它的发生并不是那种地震或者大楼倒塌一样的非常强烈具体的事项，而是一些非常轻盈的动作，就在刹那间发生和重复，然后构成了我们的日常。
我的作品便是从日常出发的，它们所包含的图像是日常的，它们中藏着许多日常的细节，所以它们也应该是轻盈的日常的状态。这种轻盈便是通过图像和材料和造型来实现的。同时，日常并非绝对平和安全的，也包含的危险。于是一些锋利的尖锐的的部分会出现在我的作品里。看似危险但不会真的造成什么伤害。
H: Firstly, clear acrylic is a material I've used extensively, as I'm interested in man-made materials and I appreciate its clear quality. The extensive use of “man-made materials” began with my earlier “Artificial Nature” series and has continued since then. I also use a lot of stainless steel, which is also a common man-made material used in constructing cities. The hard, cold, yet shiny and beautiful texture of these materials is what intrigues me.
In this series, I wanted to present an overall graceful moments in daily life. The concept of “folds” comes from Deleuze, who mentioned that the world is made up of endless layers of folds. Physically, ripples are a beautiful natural representation of folds. The unfolding and enfolding of folds is part of daily life—like ripples caused by a drop of water, like a flower blooming, like wind blowing across a leaf's tip, or like the rhythm of breathing. These events are not as intense or concrete as earthquakes or collapsing buildings; rather, they are gentle movements that occur in an instant and repeat themselves, forming the fabric of our daily existence.
My works are rooted in the everyday—the imagery they contain is from daily life, with many embedded details from the every day, and therefore it should convey a sense of lightness and casualness. This lightness is achieved through the use of images, materials, and forms. At the same time, daily life is not completely peaceful and safe; it also contains elements of danger. So, some sharp and pointed aspects can be found in my work. They might seem dangerous, but they won’t cause actual harm
Ripples and Folds #5, Platinum rag, acrylic, resin, 60 × 53cm，2023
Ripples and Folds #6, Image printed on Georgette, glass, stainless steel, 150 × 70 × 20cm，2023
A: In the piece “Birds”, the originally white-toned image has been tinted with pink and printed on soft fabric. The four corners of the fabric are stretched and supported by hooks. Can you explain the thoughts behind altering the original way the image is presented? How do you describe the relationship between your photographic intentions and your artistic language?
H: “小鸟”是我的“Be suspended”系列中的一件。实物没有图像上那么粉，但确实数码修改过颜色。整个系列都是在上海为期两周的栏杆外驻地完成的，创作时间很有限，且要求创作全新的作品。当时我就在思考，我的作品到底是什么？特别是在一个白盒子展览中，作品代表的是什么？我认为作品代表了创作者本人，是一种身份的实体化，是“沉默的嘴替”，就像一个人的外表和皮肤。于是我选择了轻薄有弹力的半透明面料来印刷我的图像，让图像从观感和触感上都贴近皮肤。而悬挂的方式则是来源于身体悬挂（body suspension），这种行为起源于5000年前的灵性探索，当然后来也出现在了宗教和殖民历史中，我便使用了大尺寸铁钩来悬挂我的“皮肤”。图像中是六只石膏小鸟往右上方飞去，而作品上的每只石膏小鸟又被一个小的鱼钩勾住了喙，被透明的线往他们原本的飞向方向拉扯，产生面料的变形。这一步便是初期我对图像雕塑（sculptural photography）的一种尝试。
因为我现在的作品越来越多不再只是摄影一种媒介了，所以对于我来说拍摄意图在我目前的艺术语言里面能产生的影响比较小，反而是我的语言会影响我的拍摄初衷。我一直坚持拍摄，我拍摄对象的选择会被逐渐发展的语言影响。我不觉得这是件好事，看似有拍摄效率的提升，但也会让我对看东西产生一层滤镜，一些有意思的东西可能被我不小心忽略了，如果真的这样我会觉得遗憾。
H: “Birds” is a piece from my “Be Suspended” series. The actual work isn't as pink as it appears in the image, but its color has indeed been digitally altered. The entire series was completed during a two-week residency in Shanghai, with limited time to create entirely new works. At that time, I was pondering what my work is, and what my work represents, especially in a white-box exhibition setting. I believe that the work represents the creator as a tangible expression of identity, a “silent spokesperson”, like a person's outer appearance or skin. Therefore, I chose lightweight, stretchy, semi-transparent fabric to print my images, so that both visually and texturally, they would resemble skin. The method of suspension is inspired by body suspension, a practice that dates back 5,000 years in the context of spiritual exploration and has later appeared in religious and colonial histories. I used large iron hooks to hang my “skin”. The image shows six plaster birds flying to the upward right, but on the actual piece, each plaster bird's beak is hooked by a small fish hook, pulled in the direction they were originally flying by transparent threads, causing the fabric to distort. This step was my initial exploration of sculptural photography.
Since my current work increasingly involves mediums more than just photography, the impact that my photographic intent has on my artistic language becomes relatively small. Instead, it's my evolving artistic language that influences my initial intent behind taking photographs. I've always continued shooting, and my choice of subjects is increasingly influenced by my artistic language. I don't think this is necessarily a good thing—it may seem like I'm becoming more efficient in photography, but it also creates a kind of filter over how I see things. As a result, I might inadvertently overlook some interesting elements, and if that happens, I'd feel rather regretful.
小鸟,图像印刷于弹力氰胺布料,铁钩,鱼钩,树脂, 210 x 160cm，2020
Birds (detail), Image printed on stretch cyanamide fabric, stainless steel hooks, fishing hooks, resin, 210 x 160cm，2020
Birds (detail), Image printed on stretch cyanamide fabric, stainless steel hooks, fishing hooks, resin, 210 x 160cm，2020
景观#1, 图像印刷于乔其纱,
树脂, 20 x 127 x 128cm, 2024
Landscape #1, Image printed on Georgette, resin,
20 x 127 x 128cm, 2024
A: It could be noticed that our recent installations have included some materials from nature. What prompted you to choose softer, more malleable materials? Does using more flexible materials bring you new insights or reflections?
H: 我一直在尝试一些新的材料，而手工制作是出自我本身对于手工的喜爱。比如我最新的一个作品中的部件，它原本是可以用亚克力去直接切割的，或者用3D打印去实现的，但我最终选择用树脂去全手工制作，近期的自己更喜欢不是那么工业化的东西。
然后像陶瓷之类材料，其实是因为我想尝试一些新的媒介。上陶瓷课的时候老师就讲这个材料的特性和技术难度，当时作为一个初学者我脑子里想的都是怎么和这些限制反着来。于是在自身技术范围内做了陶瓷的编织，想用一种烧制后很坚硬但脆弱的材料完成看似柔软和流动的作品。那个作品现在已经碎了，因为它真的太脆弱。我只是想去做这样一个关于它的属性和边界的不一样的挑战。
H: I've always been experimenting with new materials, and the use of handmade elements comes from my personal fondness for craftsmanship. For example, in one of my latest works, a component could have been easily created by cutting acrylic sheet or through 3D printing, but I chose to make it entirely by hand using resin. Recently, I've been more inclined toward using less industrialized methods.
As for materials like ceramics, it was because I wanted to try a new medium. During ceramics classes, the instructor explained the characteristics and technical challenges of the material. As a beginner, all I could think about was how to work against these constraints. So, within my technical abilities, I tried weaving ceramics, aiming to create a piece that looked soft and fluid but was made of a material that, once fired, is hard yet fragile. That piece has already broken because it was indeed very fragile. I just wanted to challenge the typical attributes and boundaries of the material in a different way.
A: In the series “Forgotten Spaces as Temporary Studios”, the scenes of man-made natural landscapes reverting to nature seem to create a striking juxtaposition and interweaving. Upon closer examination, one can notice some artificial plastic-like balls scattered around. Could you elaborate on this series?
H: 这个系列实则是“人造自然”系列延伸出来的一个部分。当我们把城市看作是有机体的时候，城市的新陈代谢便为“新建-当前-身后”。城市废墟就处于“身后”部分，代谢的末端，是失去功能的，被搁置的，被遗忘的，将来可能会消失，会被替代的。
在“新建”和“当前”阶段，人类对空间有很强的控制欲，在城市设计和规划之下，自然生长被压抑和局限住了。但到了废墟中，人类的控制撤离，自然物以相对安静的方式回到这个空间，蜘蛛结网，植物发芽。除此之外，那些人造自然物，比如假花假树，曾经象征着自然与生命力，如今也丢失了意义，成为废墟的一部分，却仍然骄傲地盛开和常青。
H: This series is an extension of the “Artificial Nature” series. When we view a city as an organism, its metabolism consists of “newly built – current – past”. Urban ruins represent the “past” part, the end of the metabolic cycle. These are places that have lost their function, have been abandoned, and forgotten. They might eventually disappear or be replaced in the future.
In the “newly built” and “current” stages, humans have a strong desire to control space, and in urban design and planning, natural growth is suppressed and restricted. However, in the ruins, human control recedes, and natural elements quietly return to these spaces—spiders spin webs, and plants sprout. Beyond that, the man-made elements that once symbolized nature and vitality, like artificial flowers and trees, now lose their significance and become part of the ruins, yet they remain proudly in bloom and evergreens.
Forgotten Spaces as Temporary Studios #8, Archival inkjet print, 60.96 x 76.2cm, 2020
Forgotten Spaces as Temporary Studios #1, Archival inkjet print, 60.96 x 76.2cm，2021
Forgotten Spaces as Temporary Studios #1, Archival inkjet print, 60.96 x 76.2cm，2021
A: In the project where AI intervenes with images, how does AI become involved in your creative process? Is the alteration and recreation of the original images by AI also part of your artistic expression? The images are divided into multiple chapters, and while the subject of focus in each chapter is different, they seem to be connected by a certain theme. Could you talk about the relationships between these chapters?
H: 通常大家理解的人工智能生成图像就是输入文字产出图像，这看似很方便但其实也限制了人工智能在图像工作方面的更多可能性。人工智能对于我的实验，和相机和Photoshop是一样的，都是一种工具，而我的创作并非只依赖一种工具。我会同时使用这三种工具来实现“数字化摆拍”，我会让人工智能学习我之前拍摄的照片，学习我的风格，然后混合实拍、数字拼贴和少部分手绘，产出新的“虚构的空间”。
目前的章节划分是以主体和视觉风格来的。每个章节的图像在视觉上有很多的相似处是因为人工智能学习了相同的摄影作品后介入创作的。
我觉得这个项目对我来说更像是关于图像和空间的探索和实验。原本的基于真实空间的摄影素材在这里成为了一种契机和被模仿的对象。摄影本是写照存在物的，但这种概念被人工智能搅动了，人工智能作为一个非实体，通过模拟实体样态来仿真实体现象。这个过程也像是人类模仿和模拟自然，在城市中构建“新的自然”的行为。所以我在实验过程中仿佛自己在进行“人造自然”系列的有一个子题创作，很有趣。
H: Most people understand AI-generated images as inputting text to produce an image, which seems convenient but actually limits AI's broader possibilities in image work. For my experiments, AI is just a tool like a camera or Photoshop, and my creativity does not rely solely on one tool. I use all these three tools simultaneously to create “digitally staged photography”. I allow AI to learn from my previous photos and my style, then I combine its creation with real-world photography, digital collage, and a bit of hand drawing to produce new “fictional spaces”.
Currently, the chapters are organized by subject matter and visual style. The visual similarities within each chapter are due to AI’s learning from the same set of photographic works before its creation.
I feel like this project is more about exploring and experimenting with images and spaces. The original photographic materials that are based on real spaces, become a starting point and an object to be imitated here. Photography is traditionally a representation of existing things, but this concept is disrupted by AI, which, as a non-physical entity, simulates the appearance of physical phenomena. This process is somewhat similar to humans imitating and simulating nature by constructing “new natures” within cities. Thus, during the experiment, it feels like I'm working on a sub-theme of the “Artificial Nature” series, which is quite interesting.
Recast #5, Archival inkjet print, 55.88 x 40.64cm, 2023
Gaming at the Table #6, Archival inkjet print, mounted on aluminum, 45 x 45cm, 2023
Scene #1, Archival inkjet print, mounted on aluminum, 120 x 94cm, 2023
A: Your project in your hometown of Dali has been ongoing for 9 years following the city's transformation. What prompted you to start this project? Did choosing this topic aim to reflect on local development? How is this project related to your own identification and self-expression?
H: 关于白族的项目是从“本主节”开始的。虽然这是白族人最隆重的节日，但生长在城市的我在21岁前并没有任何对本主节的记忆。我是白族人，但我对自己民族的深入了解是在成年后，大学之前的我对自己的少数民族身份认知非常有限，我也从未觉得身边的人讲白族话时我无法参与交流这件事有什么问题。当我去北京念书后，周围环境的改变才让我意识到少数民族身份的特殊性和自己民族文化传统对于个体的重要性，同时也发现我的体验和经验在和我一样背景的白族年轻人中普遍存在。
我开始更加关注文化传统，更主动地去靠近和学习。2015年开始我都会和父亲一起去各个村落参加当地的本主节和其他节日，从纪实的角度拍摄了大量的图像和影像素材。在和当地村民的交流中我逐渐发现了很多有趣的点，包括80后90后年轻人对与白族传统文化和自己家乡的态度，城市化和现代化与民族传统文化之间的关系，以及身份和环境对于个体生活的影响等等。于是我在2017-2018年间创作了关于白族语言和文本化的实验项目“白文的一种可能性”以及关于白族村落现状的纪实摄影项目“小镇”。之后我暂停了相关项目，一个原因是我去美国念书，离开这片土地感觉离开了土壤，一个原因是我觉得我还太稚嫩，没有准备好去继续这个对于我来说非常有份量的重要项目。
今年我决定将更多精力放在关于“本主节”的大量素材上，是因为有一种“时机到了”的自我判断。目前还无法透露太多的项目细节，但未来的计划是比较明确的。
H: My project on the Bai ethnic group began with the “Ben Zhu Festival”. Although this is the most significant festival for the Bai people. Growing up in the city, I had no memory of it until I was 21. I am Bai, but I only gained a deeper understanding of my ethnicity till adulthood. Before college, my awareness of my minority identity was quite limited, and I never felt there was anything wrong with not being able to join in when people around me spoke the Bai language. It was only after I went to study in Beijing that the change of environment made me realize the uniqueness of minority identities and the importance of cultural traditions for individuals. I also found that my experiences were common among other young Bai people with a similar background.
I began to pay more attention to cultural traditions and proactively sought to get closer and learn more. Since 2015, I've been attending local Ben Zhu Festivals and other events in numerous villages with my father, capturing a large amount of documentary-style images and video footage. Through interactions with local villagers, I gradually discovered many intriguing points, including the attitudes of '80s and '’90s-born young people towards Bai traditional culture and their hometowns, the relationship between urbanization, modernization, and ethnic cultural traditions, and the impact of identity and environment on individual lives, among other things. As a result, I created two projects between 2017-2018: “A Possible Writing of Bai Language”, an experimental project on the Bai language and its textualization, and “Small Town”, a documentary photography project about the state of Bai villages. I then paused these related projects for two years firstly because I went to study in the United States, and leaving that land felt like losing my grounding. The other reason is that I felt too inexperienced and not ready to continue with this project, which carries great significance for me.
本主节系列，Benzhu (本主）series，2015-2024
A: Are there any artists who have had a significant influence on you?
H: Joan Miró，Wassily Kandinsky，Senga Nengudi，Mika Rottenberg，Luca Buvoli，Siobhan Liddell，Asma。这些名字是很快出现在我脑子中的，都是我很喜欢的艺术家，有的是我在学校的老师和朋友，对我的工作生活也有影响。
H: Joan Miró, Wassily Kandinsky, Senga Nengudi, Mika Rottenberg, Luca Buvoli, Siobhan Liddell, Asma—these are names that quickly come to mind. They are all artists I really admire; some have been my teachers and friends in school, having an impact on both my work and my life.
A: 可以聊聊这次展出结束后的其他计划吗？
A: Can you talk about your other plans now that this exhibition has concluded?
H: 今年还会有一些展览计划，重心依然是好好创作，同时也很喜欢摄影师和美术指导的工作，会在时机合适的时候进行。
H: I still have some exhibition plans for this year, but the focus remains on creating new work. I also really enjoy working as a prodcution designer and art director, so I'll take on those roles when the timing is right.
第五章#1, 铂金棉纸、丙烯、树脂, 42 x 45cm, 2023
Ripples and Folds #1，Platinum Rag, acrylic, resin，42 x 45cm，2023