"Those on the brink of being forgotten will soon transform into hues and light, ultimately evolving into the fertile ground of imagination."

The publication of this photography album was initiated by the publisher Xu Ning and was released by his art platform "YT Pictures" in early 2018. At that time, I had concluded my 8-year life in New York and returned to Beijing. I began organizing some photos taken between 2010 and 2017. The original intentionwas to use this photography collection as a means to explore the subtle relationship between the physiological and psychological motivations behind (at least my personal) photographic behavior, as well as the interplay between imagery and my personal memories. The photos in the collection were taken in Beijing, by the sea in Tangshan, Hebei, in the central oil fields of He Nan, the old town of Yu Men in Gan Su, in the cities of Georgia and Pennsylvania in America as well as in the Czech Republic, Poland, Singapore, Pyongyang in North Korea and Havana. The Part One "Wandering Ahead, Wounded" focuses on photos taken in China.

“那些即将被遗忘的，行将变成色彩和光线，并终将成为想象的沃土。”

这本摄影画册的问世，是由出版人徐宁发起并由他的“云图映画”艺术机构于2018年初出版。当时，我结束了在纽约长达8年的生活，回到北京后我开始整理那些拍摄于2010年至2017年间的照片。最初的动机是透过这本摄影集来探索（至少我个人的）摄影行为背后生理/心理动机以及影像和（我的）私人记忆之间微妙的关系。影集中的照片拍摄于北京，河北唐山海边，河南中原油田，甘肃的玉门老城，以及美国纽约市，佐治亚，宾夕法尼亚等等地方，还有捷克，波兰，新加坡，朝鲜平壤，古巴哈瓦那，不一而足。第一部分“伤者前行”集中了在国内拍摄的照片。

Work Title：FAMILIARS (+ work number)
Year：2010 ~ 2018
Work Dimension：110cmx110cm or 150cmx150cm
Edition: 3+1AP

作品名称：似曾相识 (+ 作品号)
年份：2010 ~ 2018
作品尺寸：110cmx110cm 或者 150cmx150cm
版号: 3+1AP

It was a winter’s day in the late 1980s when I was still in high school. Going home after school in the evening dusk, I had to pass by a railway crossing where a grey train had stopped and a crowd of people had congregated. Curiosity made me push into the crowd, and through the narrow gaps in between the bodies I saw a woman whose legs had just been run over by the train. She was muttering to herself as she crawled painfully on the gravel by the tracks. I got back on my bike and sped away, passing the factory with the smoking chimney and over the stone bridge on the canal. Dusk was turning into night, but the street lamps had not yet been turned on, the enveloping dark and my fear almost made me miss the turning for my own home.

Many years later, that image naturally became blurry. Even later, I got my first camera and started observing the world through that narrow field of regard.

2011. In a family hotel in Havana, students wearing red neckerchiefs filed out of the classroom downstairs and eagerly rushed homewards. In the upstairs room, she stood by the window, still as a statue. In that moment, one of Edward Hopper’s paintings flashed across my mind, I felt I needed to shine some yellow light onto her beautiful legs, so I turned on the desk lamp on the table and started shooting. After so many years spent with a camera, photography once again became the best excuse to interact with the strangers in front of me, making small talk that turned into conversation before eventually saying goodbye. I was given the right to pry into their every move through my lens, and this process was just like a short journey, just like every journey comes with an expectation and an ending.

However, most of the time we are not conscious of where things end up ahead, photography is more like journeys that we make going backwards every time.

在八十年代末的一个冬天，我当时还在初中，傍晚放学后必经的一个铁道路口运煤的灰皮火车停在那里，四周已经围满了路人。好奇心让我挤进人群，隔着狭窄的人缝，我看到一个双腿被火车碾断的女人一边喃喃自语一边在铁道旁的石子上艰难爬行。我骑车迅速离开，经过冒着烟的工厂，经过一座运河上的石桥，天色渐暗，路灯还没有被点亮，扑面而来的深蓝色以及恐惧让我几乎忘了回家的下一个路口。

经过了很多年，那个画面自然而然渐渐模糊了。再后来我有了第一台相机，开始隔着狭窄的取景器观看这个世界。

二零一一年，哈瓦那城中一间家庭旅社，楼下一群戴红领巾的学生们放学排着队从教室涌入到回家的路口。楼上房间内，她站在窗口一动不动，像是一块石头，那一刻我脑子里闪过印象中某一张爱德华·霍珀 (Edward Hopper)的油画，我觉得我还需要一些黄色的光线打在她漂亮的腿上，于是我打开了桌上的台灯然后按动了相机快门。经过了许多年的拍摄，摄影再次成为一种充足的理由让我可以和眼前的陌生人短暂的相处，寒暄，聊天，道别，可以合理的透过取景器偷窥她的一举一动，这个过程像是一次短程旅行，所有旅程应该都有一个前方预知的终点 。

但很多时候我们的意志并不清楚前方的终点在哪，摄影更像是一次次向后行进的旅程。