Happy
In the scorching summer of 2015, during my school break, I went to visit my grandmother in Wuhan. At that time, I was studying photography in the UK and had a great passion for street photography. I would spend one or two hours every day wandering the streets, capturing moments. When I arrived in Wuhan, I explored the streets and alleys, visiting many places, but my favorite was the riverside. The riverside had a broad view, with reeds growing along the banks, complemented by the middle-aged people dancing under the shade of the willow trees. It was brimming with vitality, which sparked a strong desire in me to capture it through my lens. The seeds for the creation of the "Joy" series were planted during that time.
Afterwards, I began to focus on creating works centered around the community of square dancers. They were not professional performers, and their fashion sense was somewhat outdated. As I watched them perform, I could sense a strange theatrical atmosphere. Initially, when I started taking photos, I couldn't help but have a critical mindset.
But what truly attracted me were the special moments of intense energy. In those moments, the subjects emitted a dazzling light, completely immersed in their ecstatic state. Their state of celebration evoked a sense of calling within me, and the critical perspective vanished, replaced by a strong impulse to capture the essence of the world through the lens.
There is a deep beauty hidden within the surface absurdity. This beauty stems from the soaring will to live, and it collides with me through the lens. I want to express it through the language of imagery and passionately praise it.
In the creation of the "Joy" series, in addition to photography, I also created a video installation with accompanying music. The photographs became more like finished products, condensed and pure, while the video installation provided a broader and richer experiential dimension, bridging the gap between my on-site creative experiences and their presentation. Both complement each other, presenting a more complete depiction of the unique beauty of life rooted in our current era and culture.
喜
15 年的炎炎夏日，学校放假，我去武汉探望外婆。那时候，我正在英国读摄影， 非常热爱街拍，不论寒暑，每日我都会花上一两个钟头在街上晃荡拍摄，到武汉之后，我 游街串巷，走了很多地方，但最喜欢的是江滩。江滩视野开阔，岸沿生满了芦苇，与岸旁 柳荫下
群舞的中年人相得益彰，极富有生命力，这令我产生了强烈的拍摄冲动。《喜》系 列作品的创作萌芽便是在时候种下的。 在那之后，我开始认真地以广场舞这个群体为主体进行创作，他们不是专业表演者，衣着审美也有些不合时宜。我在观看他们表演的时候，确实可以扑捉到一种陌生的戏剧性气氛。在起初拿起相机进行拍摄的时候，几乎是不可避免地产生了批判的心理。
但真正吸引我的是一些特殊的激烈时刻，在那些时刻，被摄体发出耀眼的光芒，他们完全沉侵在忘我之中，他们自身的狂欢状态让我感受到了召唤，批判视角随即消失，伴随着诞生了透过镜头扑捉下那世界实质的强烈冲动。
有一种深层的美隐藏在了表面的荒诞氛围之中，这种美来自于昂扬上飙的生命意志，这种美透过镜头与我碰撞，我想用影像的语言把它表现出来，对它热烈赞美。 在《喜》系列的创作中，除了相片拍摄，我还做了一个带配乐的影像装置，相片更加像是一个完成品，更浓缩，纯粹，影像装置体验性更广，指向性更丰富，像一座桥梁将我现场创作的视觉经验也呈现了出来。两者相辅相成，更加完整地呈现出我想要表达的这种独特的根植于我们当下时代与文化的生命之美。
Video of exhibition