Blue and Red
From the old man’s complexion lit by natural light, to the crowd bathed in the color of night; from the square stained blue by LED billboards, and the anti-government protestors reveling all night, to the rust and oxidized-green surface of a rural metal mine; movements of these different characters, even a violent squall colliding with a mountainside – these all create a refraction from the skin to the earth’s crust.
I often think of the strong emotional fluctuations I experience in the filmmaking process and how to endure them. However, at the exact some time one’s senses are being struck and consciousness is constantly being washed out, a blank space emerges; an internal blank surface in which stories and landscapes are regenerated into shapes and forms, re- turning to each of their own positions. The doubling of the surfaces bring everything back to the starting point; back to the womb.
A “tossing and turning” takes place in this blank surface. The “double” is not something empty or intangible, but a living organism taking the shape of a body while generating movement. The body rolls over and instantly fires all the joins and knuckles; the blood starts to circulate. The two surfaces twist and intertwine, creating a body and its skin. The double images penetrate each other; layers of reflections in the skin melt together. His hair and skin, expression and movement, just as vivid and lively as they could be.
But what about the emotions stirred by the impact of reality? Have they disappeared? No, they become the plasma hidden under the skin. The sensory experience gives them a place to return to – instead of simply turning into grief or cynicism, they become the hematopoietic tissue under the surface of the skin.
I think of image not as a way to document the cruelness of reality, or the psychedelic vertigo of the LED lights in the square, but more as a means of connecting the surface and skin, from double of rebirth.
I wonder why I always submerge myself in a way of filming that’s like skimming the surface of the earth; leaving myself open to the shocks of the uncertain rather than following a script. I think of filming as a basic movement of our consciousness- at a time when everyone can take out his or her photo to film, we have all actually developed a new human reflex, along the lines of “thinking” or “seeing”. That act has become so ordinary that we almost neglect it : a new basic movement that allows us to evolve a new sensory antenna.
不管是老人在自然光线下的肤色，还是沐浴在夜光下的人群；从夜幕下 LED 强光染蓝的整 个广场，反政府民众在广场上夜夜不眠的狂欢，到金属矿山区橘红-灰绿的地表，各种人物 的动作，甚至是阵风与山体震波的一次迎撞，都造就里皮肤到地表相互折射。
我也常常想：那些拍摄经历中引起的强烈情感波动与起伏，如何消受，但恰恰与此同时，在 知觉不断遭遇击打，意识不断被冲刷之后，反而出现了一片空白地，一片内在的空白地表， 情节与风景在此被重新唤起形状，重心回归了他们各自自在的位置，当然他们同时也是现实 的情节，也是现实的地表风景与人物，他们重影了。两种地表的重影使一切回归到重新的出 发点，回到了母体
我想“翻身”的动作正是在这片空白地表上发生的，重影决不虚无，而犹如有机体，是驱赶 的形体彰显，它产生了动作，就是这个翻身。 翻身的动作顿然间激活了周身关节，身体舒 经活血了。正是两层地表的缠绕与扭动造就了躯干，赋予了躯干的皮肤，双层影色相互渗透， 躯干各种皮肤层层映射，互相融化叠合，皮囊毛发，表情依然，栩栩如生。
可是那些被现实骤然撞击的情感冲击波去了哪里？消失了吗？没有，他们潜藏在皮肤下变 为了血清，感知让他们重新找到了归宿，没有让他们演化成那种简单沉重，或愤世嫉俗，而 是让他们加入皮肤和地表下血液的再造过程中。
我想我为何一直在投入这种像贴近地面飞行一般的拍摄，投入这种未知状况的感觉撞击，并 不去精心构思和剧本营造，而把‘拍’演化一个基本思维动作，‘拍’是每个人都可以拿起 自己的手机拍摄一样，其实我们都在这个时代共同演化一个新的日常动作“拍”，它在今天 和“我想”，“我看”一样，似乎习以为常到可以忽略不计的地步。正是这样，这个基本动作 让我们开启一个新的感知端口。