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“望”既是动作也标明了所在的立足点,“远”则是物理空间和精神空间的双重定点。物理空间的远方既描述着距离也描述着时间和透视,是一种虚焦后的抽象。精神空间的远方则是一种出神后的天马行空,一种混合着记忆、经验、梦幻与常识的海市蜃楼之境。“望远”的方向分为两极,向后的眼光朝向个人历史及其中的经验与常识,向前的眼光朝向未知与可能性、朝向时空的未来。“望远”这一行为带有强烈的象征性,其指涉对象是当下生存。“望远”捕获到的是现实的远距投影,和此在生存构成反证的镜像,形成一种相互牵扯与制约的张力。“望远”的目的是要建立一个他者的世界,建立一个可以无限接近的彼岸系统,谋求具有文化针对性的现实批判的
“Wang ” is not only the action also marked the foothold, “Yuan ” is the dual fixed point of the physical space and spiritual space. The distance between the physical space not only describes the distance also describes the time and perspective, is a virtual abstraction. The spiritual space is far beyond the imagination, a mixture of memory, experience, dreams and common sense of the mirage of the territory. “Telephoto ” direction is divided into two poles, backward vision toward personal history and the experience and common sense, the forward vision toward the unknown and the possibility, toward the future of space-time. “Telephoto ” This behavior with a strong symbolic, its reference to the object is the moment of existence. “Telephoto ” captured the reality of the long-range projection, and this constitutes a mirror image of the existence of anti-card, forming a tension between each other and constraints. The purpose of “long-distance ” is to establish a world of the other, to establish a system of other shore systems that can be accessed without any limit, and to seek realistic critiques with cultural relevance