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美国女诗人艾米莉·迪金森在诗里说:去造一个草原,需要一株三叶草和一只蜜蜂,还有梦。对斯宾塞·芬奇来说,造一座冰川,需要几十支蜡烛,为它们上色,让它们燃尽(《上海冰川》)。艾米莉·迪金森是这位艺术家的常用参照,色彩和光线成为他写诗的词句。名为《冬日之光,巴黎——黄昏》的作品只是一块布满蓝白条纹的灯箱,这些色彩是他用滤镜等工具对巴黎黄昏的光线进行分析提取后得出的近乎科学的事实,用他自己的话说:“这是一种思索如何用非传统但绝对精确的方式表现风景的方法”。同样,由荧光灯和滤光器构成的《夜晚之星习作》和彩色线条“织就”的绘画《伊甸园习作Ⅰ》都如同简洁的诗歌,只呈现化繁为简的意象,剩下的交由读者发挥。在摄影系列“光学小品”中,艺术家到莫奈名作中的
American poet Emily Dickinson said in her poem: To make a steppe requires a clover and a bee, as well as a dream. For Spencer Finch, building a glacier requires dozens of candles to color them and burn them out (“Shanghai Glacier”). Emily Dickinson is a common reference to the artist, color and light as he wrote poetry. The book entitled “The Light of Winter, Paris - Twilight” is just a light box full of blue and white stripes. These colors are almost scientific facts that he used to analyze and extract the light of Paris at dusk with tools such as filters. In his own words: “This is a way of thinking about how landscapes are rendered in a non-traditional but absolutely accurate way.” Similarly, the “Night Star Practice” and the colored line “Weaving” composed of fluorescent lamps and filters are like concise poems, showing only images of simplicity. The rest Let readers play. In the photo series “Optical Pieces ”, the artist went to Monet’s masterpiece