STUDIO PHANTASM

Typically, pressing the shutter is an act of withdrawal. Placing a fumo in the frame started perhaps as a subcultural habit, but it gradually turned into a photographic question: what happens when a purely "soft fiction" is thrown into an unyielding reality?

通常来说，按下快门是一个"退出"的动作。把 fumo 放进画面，最初或许只是受众圈子里的一种习惯，但渐渐地，它变成了一个摄影上的提问：当一个纯粹的"柔软虚构"被扔进"不退让的现实"中，会发生什么？

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。