Protention series 





Gilles Deleuze所说,影像是时间的幻象。对于当下的感知像是放在黑色胶片上留声机的指针,视线划入无始无终的此在,镶嵌在承前启后的过程里。在既是个人也是社会的角度上,我体察时间的存在好像一个非实体的空间,寄托于流淌着的过去-现在-将来。我关注自然形态的稳定和那些偶然闯入,打破平衡的继发性事件,如列车来去;潮涨潮落;或是无数个随机的似乎将要永远凝固的等待,周而复始。这些自然形态和貌似日常却又超现实的场景作为象征符号,借住影像,描述着可视之外的那个纬度,如古人所云“画外之境”,一个与观众感知互为依赖才能成立的,静与动,瞬间与永恒的相对论。


Protention是一个自2014年开始创作的系列作品。我用更像绘画写生的方式制作影像,将“时间”这个元素也融入画中。系列的名字protention一词取自Edmund Hussels 感知现象学中的核心三元素(retention, immediate present, protention,目前还没有相对应的中文翻译,意思是对于下一瞬间顺承事件的预期。


蓝山是系列之三,象征着仿佛凝固的等待交错着不期而遇。作品拍摄于威尔士Ross_on_Wye河谷,那时还在皇家美术学院读书,我花了很长时间在英国境内寻找类似中国山水画一样能够同山林平视又可全观的地方,没有强烈光照 、微风、蓝紫色调,乃至植被种类疏密, 无不恰到好处。两台摄像机并行再将影像如同卷轴画一般连接起来,让观者的视线可以在极近静止却无一静止的长幅中穿行。当渐渐成为主导,白鹭赫然划过,原先的此时又变成了……无始也无终。



As Gilles Deleuze said, moving image is the image of time. I feel the perception of the present is like the touching point of a phonographic needle placed on a vinyl record; my gaze scrapes into the eternal recurrence, scratching through the grooves between retention and protention embedded in experience of duration. I examine the presence of time as an inspatial entity that exists in notions as continuous elaborations of past-present-future, both in a personal and social context. Intrigued by the stability and stillness of natural forms and temporal events that break in or lay on the relative balance, I use natural forms and daily scenes symbolically in my practice as a metaphor of the pure form of the immutable change and movement.


The series of Protention is an ongoing project since 2014. I use camcorder photographically capturing still scenes that composes regular or accidental events interplaying within the frame –a metaphoric portrait of time and being. is named after Edmund Hussel's phenomenology of perception- the 3 key aspects of which are retention , the immediate present and protention [1], meaning our anticipation of the next moment.


Blue Mountain”(woodlands )is the third piece of the series representing the seemingly frozen phase of anicipation interplayed with accidential events, filmed in Ross_on_Wye in Wales. I was in my 2nd year at the Royal College of Art, spent quite a long while on looking for a place like in tradiontional Chinese ink painting where I could stand my cameras on the same height as the moutains for a overview. Weather is supposed to be mild without strong sunlight to give a bit of blue purple tone. Even tree species and density are in the right place. Two cameras were filming at the same time then seamlessly joint by post-editing. The widescreen unrolls a scroll revealing immanent hidden movements, which are then covered by layers of rapid motions and shift back to stillness again. Looping…