No eyes, no Real Image.
You want to see, you want to see, you want to see the truth, that's what drives Real Image.
01
Seen.
Start the first step on Real Image.
Black hole.
Zhang Shaohua and I were in the same class at the U.S.A. School of Design in 2008 and in photography in 2009.
But as early as 07, a year ago, I was shocked by a sketch that was hidden in a book called "America's Book of Excellence" - a "shawing mask" coming in front of me and staring at me unprepared. I thought in my heart how many people were sick to paint this image. It wasn't until the 19-year-old Real Image project started that the author slowly solved the mystery that I had been plaguing for years.
After a year of re-education, Cau-mei went to Beijing a year early to attend a drawing class, and he did not have any life experience in Beijing in June. He was tricked after he had just arrived in Beijing. He was sold by the painter who had paid his tuition, and then was cleaned up several times. A third-year-old who had been defrauded by tens of thousands of dollars had not dared to mention it to his parents, but his artistic dream had not been broken and he had only a modest monthly living allowance to find the cheapest basement in Beijing at the time, lived for six months and continued painting. And the mask was linked to the bitterness of the heart.
The life experience of the black, damp, windowless second basement might be a fate that could not be avoided, and that was deposited and marked on the journey of his life. And this black underground cave, I think, is the first bead to wear the Real Image necklace.
The light of the hole.
The Episode of Peach Flowers, written by Taro Yuen, is a result of the fisherman's loss, and it says, "There is a small hole in the mountain as if there was light." The secret of the source of peach blossoms was discovered only when it came from a small, luminous hole in the mountains.
Unwittingly lost to discover, and conscious search is always depressing.
The hole is amazing, it connects two spaces and makes it possible to travel.
"Light" is wonderful, it implies existence and makes it possible to see.
A "David Hockney Theory" that happened to be found in the library in freshman year broke my awareness of photography and went back into the photo collage, four years in college, over a million pictures, four years in college, and four years in college, when I created a triad called "Mountains." After 12-13 years of graduation, I made two more, and I decided to end my collage.
The fourth of the five collages, called "Central", I placed a sun in the centre of the mountains, inspired by the occasional discovery of a pontoon at Ming Hyo's Mausule, and the fact that it placed the sun in the centre of the mountains, which was deeply stimulating to me. How can the sun be placed in the mountains in the frame of the camera forever above the horizon?
A circular "hole" in the center always arouses my curiosity and keeps asking me, what is the world?
The scene at the time of the birth of the baby may be a bit similar, with the birth of a life that explores a hole in the womb of a dark mother that sends a weak light, and an unknown new world coming under the pressure of the mother.
A black box with holes.
In the second year, the teacher will make us make a needle-hole camera, find a sealed black box, and when we drill a small hole in the center, put a piece of paper on it, and find something to film, open the black tape that's stuck in the hole, and make it fully visible, and then print it in the dark room, and that's how it appears.
When there are holes in the black box, the light enters, it forms, and in optical terms it is called the "small hole imaging" principle, which is also defined as "real Image". In nature, we find it difficult to detect the presence of small holes, which are not visible as the sun rises and falls or as the reflection of self in water. Just as we have keys in our hands to find them, the eyes we use to see the world are itself a black box, and the pupils are the holes that put light into it.
After 12 years of graduation, I went to work as a 3d printer, and he was an independent photographer. After an occasional meeting after graduation, the view of photography was raised, and it was not surprising that two people were still upset.
So we're both drawing from elementary school, like painting, like painting, like painting, like painting, like, all the time, and then we're at the College of Design, and we're out of it, so let's think about photography, close to art, and now learn how to make pictures.
At the peak of digital photography development in 2009, Yoshinaga 5d2 swept through the altar, and two years later the iPhone was on its way, with the technology of ps drawings and a beautiful picture that could not be accomplished with sophisticated technology and expensive equipment. Photographers have been acting for the benefit of the magicians, and the equipment of the ladies is making me blush.
The photography profession has become a profession of marginalization, amateurization and homogenization of lovers, and the mention of photography is linked to the dress, photographing, image-forming, painting, advertising, and even the sex industry. Photography has been completely surrounded, bombed and replaced by "images", in short - a fake cover-up for eyeballs.
Dissatisfied with reality, let's get on with it. What's going on?
A painted "fiction"
The aversion to "false" stems from an aversion to "real", and a seemingly contradictory remark comes from a complaint made to me by Sauhua at the time, "I am very resistant to this state, and whenever I take up a camera and face a model, they don't get up, either rigidly, rigidly, or deliberately "falsely", and finally tell me how I have to fix the photo, especially beautifully." For more than a year, Sauhua had had enough of the stereotypes of photography, "I want to pursue the truth, they do not accept their true image, and nature is too difficult for them to present in front of the camera."
Indeed, digitalization has thoroughly taught the market that a portrait has to go through a series of operations, such as skin grinding, poaching, liquefaction, etc., and an empty template with a personal face like ashes, devoid of identity and anger, which disgusts Sauhua, who has just entered the industry.
When I was interested in the "collage" in college, I "regulated" the commercial "photography", and Sauhua's complaints have given me a fresh thought to the difficulty of filming people. At the same time, we have developed new practices as we have had more and more in-depth discussions on "real" and "false", "subjective" and "objective".
The "acting a non-acting" was the consensus and outcome of our first phase. And we found that a picture is definitely not just the state of the model itself, that the photographer behind the camera is an absolutely important role, but that the scene is one of the conditions necessary to get both sides into the state. It is by no means an emotional pose, but a natural display and appearance based on the equality of two people, respect and mutual trust, so that the inner self can be shown, the tentacles opened and the trajectory of their lives released. Sauhua borrowed a small classroom from students who were studying at the beauty complex and began a two-year exercise.
At a time when the psychology of exploring people's hearts slowly emerged from our research, Sauhua then applied for advanced theoretical knowledge to graduate students of North Great Psychology. Let's get to the point, remember, when we did a psychological test for a MBTI 16th personality, and it was interesting, I'm INFJ, I'm INTP, and each has a name for an analyst and an architect. More interestingly, INFJ is the rarest of the sixteen and the rarest among men, with only 0.25 per cent. The analysis of personality formation has also given us greater interest in exploring self-discovery, with certain unexplored secrets that must be hidden in the photography, and our own interest stems from its own mystery.
P4 Theater "Big Black Box"
Fifteen years ago, I learned that there was a big studio in Tunnel, so I asked Sauhua to rent it. After considering two days, he decided to begin the design drawings and construction renovations. At the time, I discussed with Sauhua how to design it, and it was not possible for the traditional studio-column-wall programme to be brought up by Sauhua, when the beauty-dance friend frost gave a "theater" programme, which was approved by all at once, and P4 Theater began to design, build, hard-dress, soft-clothes, and was not configured until the first half of the year.
I was in charge of the design of the logo, and the "p" and "4" in the logo were like two little dancers who rotated and attracted each other, and that's what P4 Theater built. Photographers and models on stage and in light are no longer opposing and unequal, but are the whole of each other's performances, and are created by action, performance and dedication.
P4 Theater was designed at that time, half of the black area was staged, and half of the white area was work and audience area. Now it looks like half a room in Ming, half a dark room, like a giant camera. When the black curtains on the stage came up from the white area, the entire space was black, as if it had entered the camera, entered the eye, entered the dream, entered the womb, immediately followed by a light coming out of the hole, and "real Image".
The dream must be black, and P4 Theater was built for it.
02
Yeah.
Real Image
Two-person drama.
I left Beijing in the middle of 16 years, and at the end of 18 I went home from America to take care of my parents. In the years I spent in the United States, Sauhua also completed a post-graduate course in psychology. He came to me from Beijing to talk about P4 Theater's future, and by early March of 19 we had another phone call and talked about ideas. Decides to continue our previous plans.
My mother was unexpectedly ill in early 19 when she was taken care of at the hospital, and was unwittingly exposed to Racon's theory, which was very exciting this time and inspired me so much that I was also brought to the psychoanalytical door. Of course, Sauhua has also been exposed to psychoanalytical analysis in psychological studies, and we have suddenly realized that the relationship in psychoanalytical consultations is very much in line with the methods we've been exploring before. The "Real Image" project was formally launched in June.
At the same time, we named the experiment at P4 Theater "Real Image" when we thought that Real Image was real, it was real, it was real. This was followed by the recruitment of volunteers from the soybean petals. I have worked hard on the theory, structure and framework, as well as the interpretation. As more and more people are involved in Real Image, we also continue to receive a great deal of experience and feedback from the film, and in early 2020, after many discussions and consultations, we finalized a concrete programme for the Real Image practice at P4 Theater and called it "real Image - eight and a half" and called the exit sign "Drama for two, just to see you again". Moreover, we have set a target of only 1,000 participants to experience the project, and when the experience of the 1,000 people is over, the project will end and never be restarted.
Real Image -- eight-and-a-half, "Bye-bye" wonderful journey.
The most important of the eight-and-a-half units is a series of eight "dramas", where the drama specifically refers to the "drama of two people" that took place in P4 Theater, in which only two players, the "intruder" and the "separate", were involved. "Eight Dramas" are divided into "four seasons", each of which is divided into two upper and lower, one, three, five and seven single series dominated by filming and two, four, six and eight even series dominated by vision and expression. Each season revolves around a major dimension, and each is unique and well-designed. And the last half is hidden from us and will be told when the eighth is finalized.
"Eight-and-a-half" sounds a little bit like a tribute to Ferrini's film, but our original purpose was to get Real Image's experience deep enough to be enriched and elevated in terms of the dimensions of the experience, and to leave enough room and time to think about each chapter and the next.
I, See, you.
I see you the theme of the film Avatar, "I saw you," and I put a comma between three letters, and I deciphered it into three layers: I see, I understand; I see you, I see you; See you, See you. The fact that the English language is so rich that it is not just seeing, seeing, visiting, understanding, conceiving, ensuring, experiencing, clarifying, escorting, is just an indication that the meaning of what is seen is too much, and we finally decided to translate it into "see you again".
"Goodbye" is a flashback of light and fire? Was it the awkwardness of a child when he met? Is it an old man's will to stay away from each other? Or do you think it's a thousand feet deep?
And who would you be?
It's like drinking water. It's warm.
Look, act, shoot the triad.
Real Image's structure is divided into three dimensions: watching, acting, filming, which means our Real Image drama. It must be about work in these three dimensions, and one direction is impossible.
Light, stage, Camera as Device
(a) Interactive mind, common sense, action performance
(b) Emission, inter-temporal condensation, photocooperative
Quiet friend, unformed, missing.
We use these 48 words to describe settings, experiences, feelings, results in Real Image. Seeing, acting, filming, interwoven, penetrating in every detail and supporting the entire eight and a half frame. The four words that we have adopted as P4 Theater's philosophy, pursuit of goals and our own mission, always urging, monitoring and pressing ourselves to move forward, not giving up, not discouraging and not bowing down.
03
Bye.
Where's the end of Real Image's journey?
A dream.
Sauhua told me about a dream he had had at the beginning of the Real Image practice, where he was lying silently on the ground, where there was a force to pull him up, and suddenly, when a piece of diamonds took off from his body, he began to have a lens of diamonds, which flew out to a crowded market, which ran backwards in pedestrians and traffic flows, fast, but he could see the faces of everyone through the market, their joy, their rhetoric, and even the movement of fine facial muscles. In his surprise and wonder, the diamonds flew out of the city to a forest, moving through the trees above the forest, flying over every kind of leaf, with unique texture, rich detail, and after a long period of time, faster, blurred visions, and slowly realized that the diamonds were leaves, not leaves, but the whole of leaves. All of a sudden, looking at the diamonds floating in the air, awakening, understanding what love is, the whole thing is love. When we're talking about love, we're always expressing the desire for me, the imagination of me, not the essence of love itself, or me. "I" is a whole, and the square that is the whole leaf is love.
A museum.
We will build a museum as the most sincere record of 1,000 Real Image experientials, both historical and forward-looking. Everyone will have their own storage space, where there are traces of what they left behind in P4 Theater, where the film they filmed will be stored. We'll collect
An object that everyone cannot abandon but does not want to see - emotional "remnant"
It's what they say about their past or their future.
It's not like they're having a dream or a Real Image script.
A Real Image certificate
There is also an agreement with P4 Theater, a power of disclosure as determined by the participants.
This "Real Image Museum" consists of 1,000 black boxes and 1,000 keys, which connect two worlds, one white and one black.
Let's not exist.
Born to die, to exist, to be absent, to congesterate the moment into eternity, to experience the experience of writing, to accumulate the layers of experience, to suddenly erupt, to be inspired, to rise and fall, to be rewritten, to be rewritten, to be written. Letting "not exist" be a journey that will never end, and we are the passers-by and writer of history, from the "active" to the "active" to the "passive" to the "active" to the "active" to the "active" to believe that one's future and past will end up in a wonderful necklace, a moving story, a wonderful journey.
Again, what's Real Image?
Q: Why should the eyes be created?
A: To see, see, see the truth!
The evolution of the eyes is an extremely complex history, and even Darwin, a nasal edifice of biological evolution, is extremely confused about it, and he is frank: "Every time I think about the eyes, I feel terrible." In his book "The Origin of Species", in the section on "Extremely Perfect and Complex Organisms", he wrote in plain words: "The eyes have incomparable designs that regulate focal lengths, allow different luminous amounts of light and correct the difference in the face and colour of the sphere. I frankly admit that the hypothesis that the eyes were formed by natural choice seems to be the most ridiculous. It's not like it's gonna happen.
Even Darwin, who invented evolution, had to doubt his own theory because of his eyes, and that wonderful little pore image was indeed an indispensable key to bringing us to the door of the new world. I have to relate to this "hole" when I say, in my moral discourse, "the great, the great". The eyes not only allow light to be felt, but also give a clear and specific two-dimensional image that is inextricably linked to the hole. The cave is wrapped, dark, secure, comfortable, it is the belly of our mother, it is the place where life begins and it is the place of the beginning.
But let the light enter, take us apart, let us go, let us be ourselves, let us connect to everyone to be a new person, go from one world to another, walk out again and again, and be born in person to find out why, to find the source and to say goodbye to ourselves.
One time I had a chat with Sauhua about why it was decided to name our project "real Image - eight and a half", and I didn't know why it felt good.
I looked at these words and suddenly I hit my thigh and laughed
"You see how this word is made up of the head of a cap, which symbolizes protection, shelter, house, home, and below which the head symbolizes people, faces, portraits, self, which is the black house that protects our box, seals itself up, like we did in P4 Theater all these years."
And as to why it's called eight and a half, I drew two more of them under the cover of the actual words, saying, "You see, it's a cave, give your head up, see you!"
"Ha ha ha ha."
Let the light go through the hole to protect our black box, and the upside-down Real Image shows up again, and let's go together and see that reality and move on to that real person.
♪ And dream into reality ♪
Two men's play.
Goodbye.
"I'm watching."