《十二生肖》系列 Twelve Chinese Zodiac Signs

媒介：数绘摄影
尺寸：327 x 150 cm
创作年代：2009
从2009年开始,我就凭着摄影的敏感在圆明园拍了许多纪实性的照片，回来后没日没夜地研究这曾经风华绝代的“万园之园”。看着这些颓垣断壁的现场照片，又看了很多历史性的纪录片和用高科技“还原”为圆明园原貌的数字影片，我竭尽全力地想象，想把在我脑子里的圆明园表达出来，并试图在想象和现实之间找到某种联系和嫁接。《十二生肖》系列用的就是圆明园和不在场的“十二生肖”作为创作主题，在创作中我借用了笔记本电脑的信息检索手段，这十二个生肖的图片就是在百度搜索中得到的，然后我把这些图片与圆明园遗址并置起来，去构成一个看似客观又毫无新意的事实。我试图让这十二个生肖各归其位回到它们原来的位置，然而它们却真实地回不去了。在这虚拟和现实之间的距离实在太遥远，我们只能用“历史”两个字来概括和表达。

Media: Digital Pictorial Photography
Size: 327 x 150 cm
Year of Creation: 2009
Since 2009, guided by a photographer’s sensitivity, I began taking a large number of documentary-style photographs at the ruins of the Old Summer Palace (Yuanmingyuan). Upon returning, I immersed myself day and night in researching this once-magnificent “Garden of All Gardens”. Staring at images of crumbling walls and broken arches, and watching both historical documentaries and digitally reconstructed renderings of the palace’s former glory, I made every effort to imagine—and express—the vision of Yuanmingyuan that existed in my mind. I sought to find a link, a bridge, between imagination and reality. Twelve Chinese Zodiac Signs series takes Yuanmingyuan and the now-absent zodiac sculptures as its central theme. In the creative process, I utilized digital image searches—these twelve zodiac figures were sourced from Baidu—and juxtaposed them with photos of the palace ruins, forming a visual narrative that appears objective yet evokes a sense of banality. I tried to symbolically return each of the zodiac figures to their original place, yet the reality is—they cannot truly return. The distance between the virtual and the real is simply too vast. What remains is a void we can only attempt to fill with a single word: history.