穿透时空的迷雾 Across the Mists of Space and Time

穿透时空的迷雾

文/傅尔得

余少龑的景观,好像正要被黑洞撕裂和吞噬般,想要在其光线完全黯淡前,努力留下被罗兰·巴特概括为摄影本质的“此曾在”式的证据。

当我们的视线,游荡在其时如岩石时如宣纸的影像肌理表面,滑过画面中那依稀可分辨得出的山川、大海、树木、天空、河塘时,却发现,很难从中抓住现实的锚点。于是,那被凝视的景观,化为一个个通道,带领我们走入内心深处,去往那迷雾弥漫的时空。

从中国去到德国的余少龑,曾面临过两种不同时空的思维和文化在头脑中不断升级的冲突。在面对自然时,他找到了二者在精神上的共性。虽然他具备了中国山水的哲学思考,也对德国的绘画有了深刻的了解,作为创作者,余少龑的创作最后都必须要回到他自己本身。

余少龑充满暧昧的黑白影像充满了暗示和象征的能量。这能量可以折叠、扭曲时空,吞噬并消化现实的景观。由此,我们看到具体的风景经其抽象化的表现后,成为了更为广阔的整体自然。

虽然余少龑的作品中没有明晰可辨的确切景观,但却处处流淌着现实的灵光。正因其以摄影作为媒材,作品取自现实,才让作为观者的我们,首先就会从现实的角度去观看其作品,但紧接下来,因着其画面的抽象和暧昧,我们则会从其现实的表面掉入到时空的迷雾中。

这迷雾中的时空,是宁静的、自由的、孤独的,也是沉默的。它们或许曾容纳过余少龑真切的生活与情感经历,或许曾见证过余少龑与天地独往来时所感受过的宇宙的洪荒与枯寂,但其黑白影调间所散发出来的庄严而肃穆的沉默,让我们在凝视其画面的同时,可以暂且不去理会这突然让人无所适从的世界。

面对当下正以无可挽回之势分崩离析着的世界,又有什么比得上一个通往另一个时空的通道,让我们置身于唯一可依靠的自然之中,更能自由舒畅、精神有寄呢?或许,正因如此,我们才愿意跟随他那现实的灵光,遁入到时空的迷雾中。

Across the Mists of Time and Space

Shaoyan Yu’s landscape images seem as if they are about to be torn apart and swallowed by a black hole. These landscapes try to leave evidence of their existence before their own light is completely dimmed. This evidence is the “that has been” that Roland Barthes sums up as the essence of photography.

When our eyes wander on the surface of his works, we can feel the texture surface of the images, sometimes like rock, sometimes like rice paper. When our gaze slides over the dimly distinguishable mountains, rivers, oceans, trees, skies and ponds in the picture, we find it difficult to grasp the anchor of reality. Thus, the landscapes we gaze at become a channel, leading us into the depths of our own heart, to the misty time and space.

Shaoyan Yu, who went to Germany from China, had faced an escalating conflict between the two minds and cultures in his head. When confronted with nature, he found the spiritual commonality between China and Germany in terms of nature. Although he is equipped with philosophical reflections on Chinese landscapes and a deep understanding of German painting, as a creator, Shaoyan Yu’s creations must in the end come back to himself.

Shaoyan Yu’s ambiguous black and white images are full of suggestive and symbolic energy. This energy can fold and distort time and space, engulfing and digesting the real landscape. Thus, we can see that a specific landscape is transformed into a broader holistic nature after his abstract expression.

Although Shaoyan Yu’s works do not have a clear and recognizable exact landscape, there is always the aura of reality flowing everywhere. It is precisely because of his use of photography as a medium that his works are taken from reality, so that we, as viewers, will first view his works from a realistic perspective. But then, due to its abstraction and ambiguity, we will fall from the surface of reality into the mist of time and space.

The time and space in the mist in Shaoyan Yu’s work is tranquil, free, solitary, and silent. They may have accommodated Shaoyan Yu’s real life and emotional experience. They may have witnessed the silence and desolation of the universe that Shaoyan Yu felt when he was alone with nature. But the solemn silence emanates from the black and white shadows of his works allow us to ignore the suddenly disorganized world while gazing at the picture.

Faced with a world that is irretrievably disintegrating, what could be more liberating and spiritual than a gateway to another time and space, where we can be placed in the only nature we can rely on? Perhaps that is why we are willing to follow the aura of his reality and disappear into the mists of time and space.

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