糖眼
Eyecandy
2020-2023
我的摄影系列糖眼(Eyecandy) 反映了我寻找可替代当代资本义社会的原生生活方 式的一种探索，这个过程中我有意识地通过尝试不同 的生活方式来达到脱离由都 市生活的同质化而导致视觉产出同质化的结果。 我坚信我们处在后人类时代到来 的前夕，在消费主义过剩的时代我们大部分 人活在人类景观社会之内却时常臆想 着与自然野性的共存，大众日常视觉的 快消产出也像甜得发腻的甜点一样，在给 予糖份愉悦的同时不断提高生理刺 激的阀值。糖眼系列以一种自我反讽的姿态去 捕捉该视觉快消文化中一些时而幽默、时而深刻的生活细节:商场中的巨型LED屏 幕上出现的广告和前景 作为宣传自然和平的标本动物的对比;拥有超真实画面游戏 中雪地上一圈原 始的动物血渍;远离城市生活生活在丛林里的当代萨满师的丰盛晚 餐;这些 细节最终形成一种思辨上的反省:当我们越来越意识到我们所处环境的荒诞 性，我们和环境的关系在完全不受我们个体控制的情况下，我们是不是还有 选择 另类生活方式的可能性?
The series, Eyecandy, is a visual investigation of alternative lifestyles that escape the mainstream consumeristic gaze. Through this exploration I constantly balance my interest in the spectacle of mundane daily life and my yearning for untamed wildness. Eye-catching photos are the familiar byproduct of excessive consumerism. They provide a constant stimulation to our visual sweet-spot in a similar way to how fast food and fast fashion momentarily satisfy our other needs. Eyecandy as a body of work often utilises irony in an attempt to expose the status quo of our consumerist society. The photographs have juxtaposed LED advertising screens sited in shopping malls with displays of animal taxidermy; hyper-realistic game projection that includes blood stains in the snow; and marginalized Shamanic practitioners who gather to feast away from the city. The series seeks to pose a crucial question: How can we make life choices when we have become increasingly un-self aware about the absurdity of the spectacle of our own lifestyles.
Eyecandy
2020-2023
我的摄影系列糖眼(Eyecandy) 反映了我寻找可替代当代资本义社会的原生生活方 式的一种探索，这个过程中我有意识地通过尝试不同 的生活方式来达到脱离由都 市生活的同质化而导致视觉产出同质化的结果。 我坚信我们处在后人类时代到来 的前夕，在消费主义过剩的时代我们大部分 人活在人类景观社会之内却时常臆想 着与自然野性的共存，大众日常视觉的 快消产出也像甜得发腻的甜点一样，在给 予糖份愉悦的同时不断提高生理刺 激的阀值。糖眼系列以一种自我反讽的姿态去 捕捉该视觉快消文化中一些时而幽默、时而深刻的生活细节:商场中的巨型LED屏 幕上出现的广告和前景 作为宣传自然和平的标本动物的对比;拥有超真实画面游戏 中雪地上一圈原 始的动物血渍;远离城市生活生活在丛林里的当代萨满师的丰盛晚 餐;这些 细节最终形成一种思辨上的反省:当我们越来越意识到我们所处环境的荒诞 性，我们和环境的关系在完全不受我们个体控制的情况下，我们是不是还有 选择 另类生活方式的可能性?
The series, Eyecandy, is a visual investigation of alternative lifestyles that escape the mainstream consumeristic gaze. Through this exploration I constantly balance my interest in the spectacle of mundane daily life and my yearning for untamed wildness. Eye-catching photos are the familiar byproduct of excessive consumerism. They provide a constant stimulation to our visual sweet-spot in a similar way to how fast food and fast fashion momentarily satisfy our other needs. Eyecandy as a body of work often utilises irony in an attempt to expose the status quo of our consumerist society. The photographs have juxtaposed LED advertising screens sited in shopping malls with displays of animal taxidermy; hyper-realistic game projection that includes blood stains in the snow; and marginalized Shamanic practitioners who gather to feast away from the city. The series seeks to pose a crucial question: How can we make life choices when we have become increasingly un-self aware about the absurdity of the spectacle of our own lifestyles.
