焦 伟 Jiao Wei
2017级中央美术学院设计学院摄影艺术研究方向研究生。
《另存为》
我在寻找一种恰当的摄影与绘画对话的方式，这两种艺术语言一直以来都有微妙的千丝万缕的联系，它们既独立又互相对应。摄影除了获取照片本身以外，是否还有更多延伸的可能性?被绘画介入的摄影是我创作的核心，家庭相册是我的创作素材，这些老照片唤醒了我对过去某个时空的感受，记忆里不停的闪回一些童年的片段，通过照片，很多事情被记起，那些珍贵的记忆被重拾，散落的时空碎片泛着忽隐的光。家庭相册也是一种摄影的社会仪式，它准确的标记出了每一个真实的时间坐标。这些照片，作为一种时间的证据去提醒我们去观看生活的轨迹。照片本身有自己的艺术语言，但我更想做一种尝试----对照片中的图像进行介入以破坏其自身的语言传送，绘画的摄影或者摄影的绘画互为主语，形成模糊不清的纠缠。在我搜集的胶片家庭相册中，很多照片已经老旧，有的照片由于意外损坏而残破脱色，我自己的记忆也随着这些慢慢脱色的照片一起渐渐失真。小时候一次意外，家里的老相册被水全部浸湿，相纸和水发生了反应，试剂在相纸上融化，形成很多彩色的斑驳。显影试剂的溶化让图像变得模糊不清，真实的画面被破坏了，产生了新的坏图像，我着迷于这种被破坏的真实，无论是怎么样的介入方式，都让原本的图像本身与真实越来越背离，我沉迷于这种模糊的图像呈现。在我的创作中，一直在寻找照片和绘画之间的一种微妙的平衡，他们不再是独立的明确的，而是互为表里若隐若现的对照，弱化了真实和抽离之间的界限，对照片的再创作结合了摄影与绘画两种各为主体的艺术语言进行新的二次生成。
《Save as》
I am looking for an appropriate way of dialogue between photography and painting. These two artistic languages have always been subtle and inextricably linked. They are independent and correspond to each other. In addition to obtaining the photos themselves, are there more possibilities for extension? The photography involved in painting is the core of my creation, and family albums are my creative materials. These old photos awakened my feelings about a certain time and space in the past, and my memory kept flashing back to some childhood fragments. Through photos, many things Being remembered, those precious memories were regained, and the scattered time-space fragments glowed with flickering light. The family photo album is also a kind of social ritual of photography. It accurately marks every real time coordinate. These photos serve as evidence of time to remind us to watch the trajectory of life. The photo itself has its own artistic language, but I would like to make an attempt to intervene in the image in the photo to destroy its own language transmission. The subject matter of the painting of the painting or the painting of the photography is blurred and blurred. Entanglement.In the film family albums I collected, many photos are old, and some photos are broken and discolored due to accidental damage. My own memories are gradually distorted along with these slowly discolored photos. When I was a child, I had an accident. The old photo album at home was completely soaked with water. The photo paper reacted with the water. The reagent melted on the photo paper, forming many colorful mottles. The melting of the developing reagent makes the image blurry, the real picture is destroyed, and a new bad image is produced. I am fascinated by this destroyed reality. No matter what kind of intervention, it makes the original image itself. Departing from reality more and more, I am obsessed with this vague image presentation. In my creation, I have been looking for a delicate balance between photos and paintings. They are no longer independent and clear, but are a looming contrast between the outside and the inside, which weakens the boundary between reality and separation. , The re-creation of photos combines the two artistic languages of photography and painting for a new secondary generation.
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