一百二十五分之一秒 | 李竹君驻地项目开放日OpenStudio回顾
2019年8月25日工作室画廊_项目空间驻地艺术家李竹君的驻地项目汇报《未知空间中的旅程》如期呈现。
用胶片摄影作为创作主要媒介，在李竹君的创作中，在地拍摄与在暗房手工冲印照片同样的重要，有时甚至后者更让她留恋。
驻地项目开放日 OpenStudio
在驻地的两个月之中，李竹君在驻地工作室搭建了一个暗房，把工作室的所有光源都封堵住了，在酷暑难当的八月，“密不透风”的工作室里只有一个小小的电扇陪伴着她，而她却享受至极。这次驻地她要冲印的照片是今年三月她在冰岛冬天的时候拍的，所以最后的作品里可以看到很多下雪，水汽的朦胧景观。
驻地工作时，竹君喜欢安静，她通常就是一个人在驻地工作室。她说因为这样她整个人进入到一个很好的状态：“在暗房中好像有一个比较深刻的自己和自己的一个对话。“
其实也不是自己会跟自己开口说话，而是因为暗房里真的很黑，周围完全看不到人，自然地就会对自己专注的那个状态特别敏感，你可以感受到好像思维流动过大脑的那样一个过程，就像冥想一样，去判断、认知思维。
During this two-month residency, Li zhujun built a darkroom in her studio, by blocking all the light sources of the studio room, which actually make the studio room extremly hot during the summer in Shanghai. Only with a small fan accompanied her in the "steaming" studio, however, she enjoyed it a lot. The photos she developed for this project were taken in Iceland this March in winter, so we can see a lot of hazy landscapes with snow and moisture in the final works.
When she worked in the studio, she likes to be very quiet. She usually works alone in the resideny studio. She says it push her into a better state: "there seems to be a deeper dialogue between her and herself in the darkroom. "
对她的创作而言，拍摄仅仅完成了百分之五十，而暗房的“再创作”才是剩下的百分之五十。
具体来说，假设从零到灰会有一百种，或者更多种，同时底片会非常全面地记录所有这些灰度。但是在放大冲印照片的过程中，艺术家可能只会挑选其中的几种灰呈现在她的照片上。所以，放照片这个过程就像在画画一样，实际上是有很多的选择和信息过滤，它完全是一个再创作的一个过程。
For Li Zhujun, the shooting part is only 50% of her photography creation, and the darkroom process is the remaining 50% , it is a "re-creation" process.
Specifically, let's say if there are a hundred or more shades of grey. The negative will record all of these shades very comprehensively. But actually in the darkroom process, artist will only choose several shades of grey to be presented in the final work. So, the process of developing a photo is very much like painting. There are actually a lot of choices and information need to be filtered by the artist. It's completely a re-creation process.
竹君说她现在是以自由创作的方式加上摄影固有的那些技法在创作。也可能会有人说这个不太像一个照片。对她而言摄影并不只是记录的某些东西而已，它更多是对创作理念的一个表达，用这些技法通过摄影进行的一个表达。
说到这次项目空间的呈现，她首先想到的就是要让大家了解她暗房工作的过程。因为如果不经历这个过程，大家看到作品还是会有很多问题，比如这个照片是怎么来的？这些图像是怎么出现的？然后为什么把作品放在这个纸框框里面？
这个纸框原来就是相纸的盒子，而因为她想呈现一个工作完成后的即时状态，所以作品出来后她并没有着急去裱框，而她平时修图的时候就是把照片这样放在这个盒子里面修的。
These paper frame was originally the box package for the photographic paper, and she wanted to present an immediate state after printing the work, instead of framing the work after they came out, she decided to show them in these boxes that usually she used to do the final re-touch.
{{newsData.good_count}}
{{newsData.transfer_count}}
{{item.good_count}}k
已展示全部
{{item.publisher_name}} 发布了 文章
{{item.title}}
更多功能等你开启...
分享