消失的远山

全新系列绘画作品

New Series of Painting Works

当一部分的我在感受西方艺术美术史带来的震撼，另一部分的我带着中国传统艺术基因，有新鲜的想法呼之欲出。总有一个声音提醒我去不遗余力地重现山水画，好像这是一种使命。对我而言，影像一直是较为理智的创作形式，而绘画则是时不时需要发泄一下的感性面。因此每隔几年会有一批绘画作品。

While part of me is deeply moved by the shock brought by Western art history, another part, with the gene of traditional Chinese art, brings fresh ideas to the surface. There is always a voice urging me to relentlessly reproduce landscape paintings, as if it were a mission. For me, images have always been a more rational form of creation, while painting is a more emotional outlet I need from time to time. Therefore, every few years, a new batch of paintings emerges.

Dwelling in the Mountains 山居图局部图如果中国山水有自己的灵魂，不拘泥于其形式、可以跳出千百年来黑白、抑或是单色的规矩，与印象派及现代主义大师交流，能产生如何的碰撞、掀起如何的浪潮？简而言之：如果赵孟頫看到了莫奈的睡莲，这会令他想尝试什么样的创新？带着这些问题我展开了《消失的远山》这批绘画。不容忽视的是，仔细品味山水的局部，能感受到它们与西方抽象艺术的呼应。回看我的影像创作，我发现逾越媒介，我仍旧在复刻同一个主题。

If Chinese landscape painting has its own soul, not bound by its form, and can transcend the centuries-old rule of black-and-white or monochrome, what kind of collision or wave would occur if it interacted with the Impressionist and Modernist masters? In simple terms: If Zhao Mengfu saw Monet’s Water Lilies, what kind of innovation would he try? With these questions in mind, I began a series of paintings titled “The Vanishing Mountains." It is impossible to ignore that, upon carefully observing the details of these landscapes, one can sense their resonance with Western abstract art. Looking back at my photographic works, I realize that, beyond the medium, I am still recreating the same theme.

《平行大都会》标记着我创作生涯中一个全新的开始。自2018年移居纽约以来，我踏上了一段充满未知的旅程。过去五年里，我频繁往来于上海、纽约两地，带着独特的原生文化视角在陌生的城市里工作、生活；与西方文明朝夕相处，设想着文化碰撞会如何重构我的创作语境。我曾像一名游客般观察这座城市，直到每个街道从陌生变得熟悉。虽然从一开始就想以纽约作为基础来创作，但很长时间里，我甚至没拍下一张照片。内心的声音不断在问自己：这座城市对我来说到底意味着什么？为什么偏偏是它，为什么非得是现在？直到2023年的一天，我在炮台公园望向曼哈顿下城的建筑群——层层叠叠，细节丰富、色彩厚重，给人庄严肃穆的感受。这个场景令我想到北宋画家范宽的山水画，以及史学家对中国山水的最高评价

“气韵生动”。那一刻我感受到了一种跨越时间、空间的强烈的关联。历史上东亚艺术对于自然的审美、和现代科技影响下的城市天际线看似毫无关联，却在那一刻不谋而合。自那以后我茅塞顿开，我认知到我的特殊视角会赋予一座城市全新的意义，而艺术的核心价值在于跨越时间、地域和文化的束缚。我希望通过这个系列展现我眼中独一无二的纽约。创作过程中，我逐渐意识到我的艺术家属性发生了本质性的改变——我不再只属于上海、也永远不会仅仅属于纽约。我真正地成为了一个生活在平行世界的创作者。因此，这个系列命名为《平行大都会》，特此纪念这个开创式的起点。

Parallel Metropolis marks a fresh start in my creative journey. Since moving to New York in 2018, I’ve embarked on a life filled with uncertainty and discovery. Over the past five years, I’ve traveled a lot between Shanghai and New York, navigating unfamiliar spaces while carrying a perspective deeply rooted in my origins. Immersed in daily interactions with the Western world, I’ve continually reflected on how these cultural collisions might reshape the context of my work. At first, I viewed this city like a tourist, until its once unfamiliar streets became familiar. Though I had always intended to make New York the foundation of my work, for a long time, I didn’t take a single photograph. An inner voice kept asking: What does this city really mean to me? Why here, and why now?

It wasn’t until one day in 2023, while gazing at the architecture of Lower Manhattan from Battery Park—layered, intricate, rich in color, and imposing in its solemnity—that I was reminded of the landscapes by Northern Song Dynasty painter Fan Kuan, and the highest praise given by art historians to Chinese landscapes: Qi Yun Sheng Dong

(Spirit Resonance). In that moment, I felt a profound connection that transcended time and space. The aesthetic of nature in East Asian art and the modern, technology-driven skyline seemed worlds apart, yet in that instant, they merged into one. Since then, I’ve had an epiphany: my unique perspective can give a city new meaning, and the essence of art lies in transcending the boundaries of time, place, and culture. Through this series, I aim to present the New York I see, one that is deeply personal. As I worked on these pieces, I began to realize that my identity as an artist had fundamentally shifted — I no longer belong solely to Shanghai, nor will I ever fully belong to New York. I have truly become a creator living in parallel worlds. This is why I named the series Parallel Metropolis, marking the start of a new chapter.

《设色山水》是我在2021年中完成的一系列新的图像。在此期间，我在纽约想着上海。这一特殊时期影响到了世界上的所有人，即使一时间说不上来自己到底因此发生了什么变化，我相信每个人都不约而同地成长和改变了。过去十年的创作中，我一直都能在自己的作品中找到平静，创作对我而言像是一个私人庇护所，我总是可以像一个隐士回归乌托邦一样回到那里。然而现在再看过去的作品，似乎觉得太沉重了。因此我试着构想一个新的地方，给人带来温暖和欢愉的地方、以及充满色彩的地方。这个系列献给变幻无常的世界，尤其是带着希望继续生活的人们。

Imagined Landscape is a new series of photographs conceived during 2021. During this period, I was in New York, thinking about Shanghai. This special period affected everyone in the world. Even though I can‘t immediately pinpoint what changes occurred in myself because of it, I believe that everyone has grown and changed in their own unique way. For more than a decade I have always found peace in my own works, it’s a sanctuary for me like a hermit having their own private utopia. But as I look at them now I almost found them too heavy to go back to, so I imagined something new, something charming and delightful, with colors. This series is dedicated to a shifting world, and especially for the ones who remain hopeful moving forward.