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Dancer, Boots
舞者、靴

24/02/25



To me, aesthetics is fundamentally a capacity for receptivity. It has less to do with the styles you prefer or the appearances you’re drawn to, and more with your willingness to engage with, understand, and absorb the aesthetic structures shaped by different cultures.

But engagement does not mean blindly worshipping what you don’t understand. Rather, it is about practicing a discerning openness—approaching unfamiliar cultures with curiosity, extracting what resonates, and consciously setting aside what doesn’t. Through this process of understanding and selection, we test the boundaries of our perceptions and gradually come to see with greater clarity. The development of aesthetic sensibility is, at its core, a slow negotiation between the self and the world.




在这片沙地的中央,有一个不停旋转的舞者。就姑且称为无吧。

无的旋转没有起点,也没有终点,仿佛它在被某种力量推动,又像是它本身就是某种齿轮,不断咬合着一个看不见的齿轮组。你很难从它的特征上说出它是男人还是女人,也无法从它的动作中读出任何含义。它只是旋转,像一支用流线谱写沉默的圆规,动、动、动,但谁说它一定是人呢?

无最难以忽视的是脚上那双厚重的麂皮大靴。无是如此轻盈,如此灵动,以至于这双沉重的靴子成了它身上唯一真正属于尘世的部分。靴边是一圈圈打绺的毛。从活物身上剥下的皮毛,无法互相舔舐打理,舞者也无暇顾及它们。它们在时间的摩擦下,野蛮形成最原始的模样,张牙舞爪着,甚至有些残缺。

舞者的旋转激起了沙尘,风又捎起它们去更远的不知处。沙是流动的,风是流动的,连带着无,也要随着天幕消失的无影无踪。可这普通的在沙地上踩出痕迹的靴子,却深深的踏进这片沙土,让无与实之间产生了连接。

风卷起更多的沙,天际被模糊了,月亮像是浸泡在时间之中的一滴银色的水,而在月亮的臂弯里,有一个婴儿。

婴儿正在哭泣,他的啼哭脆弱而微小,像是世界崩塌之前最后一声被风带走的低语。可最终,他缓缓地沉入睡梦。他的梦是柔软的,像布满微光的湖面。在梦里,他看见一双麂皮大靴,和一个穿着它不停旋转的舞者。