《秋/春》——Teresa Eng（英国/加拿大）个展
特蕾莎·英格《秋与春》的展览展出了她创作的两组作品。她对日常生活痕迹与缺陷的观察是她摄影实践的出发点。艺术家将摄影视为一次思考的过程，同时亦为她个人情感或经历的再现。两组作品创作于今年二月至九月旅居重庆期间。
特蕾莎·英格将她对重庆的零星印象通过她的系列作品《身在山中》表现出来。在探索这座城市及周边环境时，她观察到了各种极端生存状态之间的相互碰撞。她试图用图像来传达这种失落感：城市的急速发展使其中的居民鲜有时间来仔细思考过去和现在；中国传统绘画题材的引用，回应了她所发现的人造建筑与旅游业和城市规划的隐蔽关联。
在作品《自画像》中，特蕾莎调查了全球化的自拍现象。自拍集照镜子和拍照两种功能于一体。自拍的主体同时也扮演了摄影师的角色，自主选择他们眼中最受喜爱的角度、光线和背景。
特蕾莎为在重庆城市中心解放碑的年轻人拍摄肖像，同时也拍摄他们的自拍照。镜头中的年轻人们所传达出的独特个性深深打动了她。这些年轻人不仅成长于科技盛行的时代，而且他们出生的年代相比他们的父母和祖父母更加稳定。
通过同时展出被摄对象的肖像照和自拍照，特蕾莎提出对自拍功能的疑问：自拍再现的究竟是真实的自我还是他人心目中的自我？
特蕾莎·英格将她对重庆的零星印象通过她的系列作品《身在山中》表现出来。在探索这座城市及周边环境时，她观察到了各种极端生存状态之间的相互碰撞。她试图用图像来传达这种失落感：城市的急速发展使其中的居民鲜有时间来仔细思考过去和现在；中国传统绘画题材的引用，回应了她所发现的人造建筑与旅游业和城市规划的隐蔽关联。
在作品《自画像》中，特蕾莎调查了全球化的自拍现象。自拍集照镜子和拍照两种功能于一体。自拍的主体同时也扮演了摄影师的角色，自主选择他们眼中最受喜爱的角度、光线和背景。
特蕾莎为在重庆城市中心解放碑的年轻人拍摄肖像，同时也拍摄他们的自拍照。镜头中的年轻人们所传达出的独特个性深深打动了她。这些年轻人不仅成长于科技盛行的时代，而且他们出生的年代相比他们的父母和祖父母更加稳定。
通过同时展出被摄对象的肖像照和自拍照，特蕾莎提出对自拍功能的疑问：自拍再现的究竟是真实的自我还是他人心目中的自我？
Works-statement
Teresa Eng will be presenting two works for her show ‘Autumn and spring’. Teresa's observations of the traces and
imperfections of everyday life act as a starting point for her photographic practice.
Using photography as a meditative process, Teresa's images are a representation of her experience. The works presented
were made during her stay as an artist in residence in the Chongqing in February and September this year.
Teresa Eng presents her fragmented impression of Chongqing in her series “In the mountain”. While exploring the city and
its surroundings, she observed a collision of extremes in existence with each other. Her images also speak of a sense of loss.
This rapid development in the cities appears to leave little time for its inhabitants to reflect on the past and the present.
She references traditional Chinese painting subjects, finding manmade constructions in nature as a result of tourism and city planning.
In “Self/Portrait”, Teresa investigates the global phenomenon of the selfie. The process of taking a selfie functions as a both
mirror and a camera. The subject also acts as the photographer, selecting the angle, lighting and background that they feel is
most flattering.
Teresa approached young people in Jiefangbei to photograph their portrait as well as one of their selfies. She was struck by
the individualism expressed the young Chinese that she photographed. Not only they have grown up immersed in technology,
but they have also been born in a period of relative stability compared to their parents and grandparents.
In presenting both the artist's portrait of the subject and the subject's selfie, Teresa questions role of the selfie. Is the selfie a
representation who they actually are or who they people to think they are?
Teresa Eng will be presenting two works for her show ‘Autumn and spring’. Teresa's observations of the traces and
imperfections of everyday life act as a starting point for her photographic practice.
Using photography as a meditative process, Teresa's images are a representation of her experience. The works presented
were made during her stay as an artist in residence in the Chongqing in February and September this year.
Teresa Eng presents her fragmented impression of Chongqing in her series “In the mountain”. While exploring the city and
its surroundings, she observed a collision of extremes in existence with each other. Her images also speak of a sense of loss.
This rapid development in the cities appears to leave little time for its inhabitants to reflect on the past and the present.
She references traditional Chinese painting subjects, finding manmade constructions in nature as a result of tourism and city planning.
In “Self/Portrait”, Teresa investigates the global phenomenon of the selfie. The process of taking a selfie functions as a both
mirror and a camera. The subject also acts as the photographer, selecting the angle, lighting and background that they feel is
most flattering.
Teresa approached young people in Jiefangbei to photograph their portrait as well as one of their selfies. She was struck by
the individualism expressed the young Chinese that she photographed. Not only they have grown up immersed in technology,
but they have also been born in a period of relative stability compared to their parents and grandparents.
In presenting both the artist's portrait of the subject and the subject's selfie, Teresa questions role of the selfie. Is the selfie a
representation who they actually are or who they people to think they are?
|
|
