中国美术学院
China Academy of Art
The Photography Department of the School of Film and Animation Art of China Academy of Art was founded in 2002. With the characteristics of Eastern visual culture and experimental video art research-relying on the profound humanistic foundation and academic height of the China Academy of Art, construct a photography art teaching and practice platform with the "Gome" model under the background of the Academy of Fine Arts. Put forward the subject research direction of "Eastern shadow painting"-the combination of experimental video art and oriental visual culture research, and form the research characteristics and professional talent training characteristics with equal emphasis on the aesthetic ideals, experimental spirit and professional skills of oriental shadow painting. Take advantage of the research method of combining modeling foundation and oriental aesthetics-in teaching, establish the ability to traditional plastic arts as the specialty, to focus on the thinking and practice of oriental aesthetics as the method, and to learn professional skills and cultivate the experimental spirit of art. The integrated curriculum system cultivates professionals with humanistic spirit, oriental cultural heritage, modeling aesthetics, professional photography skills, and experimental spirit. At the same time, we will actively create an Oriental Film and Television Community, and build an education and research base with academic heights and cutting-edge exploration capabilities that meet the social needs of the contemporary imaging industry.
矫健 Jiao Jian
《24小时·九里·2019》
For 24 hours, I waited at the window. Not waiting for the future to come or the present becoming the past, but waiting for itself. There is no way to cut between the past and the future. The past will reappear in my thoughts in the future. The future is set by everything in the past, so the past, present and future are not available. I looked at the scene outside the window and imagined what the camera was looking at was what I was looking at. Sometimes the thinking thing that is waiting does not know whether it is in front or behind, in or out.
辛宏安 Xin Hongan
《无象形之岱岳》系列
多年以来个人的摄影探索持续定位于一点，即在保持摄影语言纯粹性的基础上，进行摄影图像维度与空间呈现可能性的实验。本组作品在图像形式上，最初灵感来源于纪罗吉尔凡德尔维登的作品《耶稣受难像》（Cruifxion-Diptych-1455）。重点借鉴两个部分：其一，图像结构中宗教性的威严与崇高感，特别是潜在的支撑与视觉引导线的组建，其二，去除自然光的影响，以固有色为基础的光感与色彩表现。最终尝试通过人造景观中的“假山”这一混沌物象的形态，表达物化生命形式之中潜在的宇宙观及其东方意象，以及渺小生灵对其敬田之情。
《Daiyue without Pictogram》 series
Over the years, personal exploration of photography has continued to focus on one point, that is, on the basis of maintaining the purity of photography language, experimenting with the possibility of photographic image dimensions and spatial presentation. In terms of image form, the works of this group were originally inspired by the work "Cruifxion-Diptych" (Cruifxion-Diptych-1455) by Jiro Gil van Del Velden. Two parts are mainly used for reference: First, the religious majesty and sublime sense in the image structure, especially the formation of potential support and visual guiding lines. Second, removing the influence of natural light, light perception and color based on inherent color which performed. In the end, he tried to express the potential cosmology and Eastern imagery in the materialized life form through the "rockery" in the artificial landscape, as well as the respect of the small creatures to the land.
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