STUDIO PHANTASM

The fumo emerges not as a whimsical prop to "enjoy" beautiful scenery, but as a silent proxy dropped back into the harshness of the world we just exited. It is the perfect liminal anchor—suspended exactly between the overwhelming emptiness of an environment and the dominant ego of a human subject.

Fumo 的出现，不再是传统意义上代替拍摄者去"享受"美景的打卡道具，而是一个被重新投入到我们刚刚退出的残酷世界中的、沉默的代理人。它是一个完美的阈限锚点——精准地卡在了环境那压倒性的空旷，与人类主体那强烈的自我意识之间。

Tools mediate our relationship with the ice. Wooden chairs embody the "desirable difficulty" of childhood learning, while handmade sleds reveal the resilience of age through adaptation. Finally, youthful imagination projects the pure sensation of sliding onto a warm psychological vessel—a plush avatar that feels what we cannot. And something pure, without thoughts.

工具介入了我们与冰的关系。木椅体现了童年学习中“合意的困难”，而手工定制的雪橇则通过对环境的适应，展现出了岁月的韧性。最后，青春的想象力将滑行那种纯粹的感官体验，投射到一个温暖的心理容器上——一个替我们去感受的毛绒化身。以及某种纯粹的、毫无杂念的东西。

Not just airports, the first two photos are actually the views from the window of a high-speed train traveling from Beijing Chaoyang Station to Benxi Chaoyang. Although it seems like a square of Chaoyang, that train was heading into the dusk, presenting to my eyes the snowless winter land of the Northeast and the warm gradient of the sky at the end of the empty plains. Speeding across this vast expanse of land, the feeling is no less than flying.

不只是机场，前两张照片其实是我从北京朝阳站坐往本溪朝阳的高铁车窗外的景色。虽然似乎是朝阳的平方，但那辆列车开往暮色，这也就把东北无雪覆盖的冬季土地，与空旷平原尽头那天空温暖的渐变呈现在了我眼前。在广袤的土地上飞驰，感受并不弱于飞翔。