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我觉得王瑶的观看是天生的。翻阅她的系列作品,那些闪烁着黑白辉光的时间切片,直观地告诉我,当她拿起相机时,观看往往会逸出一种通常的控制,游走在与对象紧张而自发的互动之中。王瑶对事物的关系与结构显然有一种独特的敏感。在“后911”系列中,呈现在镜头中的各种对比是她拍摄的内在主题。骑手与马的投影横陈在栅栏之上,房间地毯上清晰的拖鞋与椅子朦胧的影子在互相对峙,教堂里两个平躺在地的少年与排椅的竖线构成视觉上的对称,以及巡警与街角拐弯处隐藏着的“捧球手”
I think Wang Yao’s watching is innate. Flipping through her series of works, those time-sliced gleams of black-and-white glow tell me intuitively that when she picks up the camera, the watch tends to escape a normal control of wandering through intense and spontaneous interactions with the subject in. Wang Yao obviously has a unique and sensitive relationship and structure to things. In the “Post-911” series, the various contrasts presented in the footage are her inner themes. The shadow of the rider and the horse was laid out on the fence. The clear shadow of the slippers on the carpet in the room confronted each other with the shadow of the chair. The vertical alignment of the two lying teenagers and the row chair in the church formed a visual symmetry, Corner hidden corner with the “lover ”