一本年代久远的书，其中的图像因时间或印刷质量的原因显得斑驳失真，让它们看起来显现出了与绘画相近的效果，无意中，一本植物园图录成为了一部画意摄影作品集。当我们希望摄影看起来更像绘画时，总是需要以削弱摄影自身的特性为代价，仿佛真实成为了美的阻碍，看一看热衷于用手机自拍的人们也能体会这一点。但有趣的是，无论如何削弱，摄影始终拥有一种无可动摇的特权，既它对自然的合理性的复制，所以即使一张照片破旧不堪，图像磨损到不可辨认的程度，它依然是完美而合理的。而我以我的手，哪怕是“机械式”地复制这些照片，在一条线的弧度中，在一片阴影的影调中，我明确感到许多的笨拙与不合理。一棵草可以随意生长，但它绝不可能长成我笔下的这根线条的样子。我完全可以体会在摄影诞生之初它给画家带来的那种巨大的震撼和威胁。绘画曾是复制世界的手段，如今被摄影所取代，并塑造了新的现实。当我重新将绘画退回到复制的位置，并以“绘画之眼”观看成为了现实的照片，我不知道自己看到的究竟是什么。

An old book, in which the images are mottled and distorted due to time or printing quality, makes them look similar to paintings. Inadvertently, a botanical garden catalogue becomes a collection of pictorial photography. When we want photography to look more like painting, we always need to weaken its own characteristics at the cost of it, as if reality has become an obstacle to beauty. People who are keen on taking selfies with their mobile phones can also understand this. But the interesting thing is that no matter how it is weakened, photography always has an unshakable privilege, that is, its reasonable reproduction of nature, so even if a photo is shabby and the image is worn to the point of being unrecognizable, it is still perfect and reasonable. And I use my hands to copy these photos, even if it is “mechanically”, in the arc of a line, in the tone of a shadow, I clearly feel a lot of clumsiness and unreasonableness. A grass can grow freely, but it will never grow into the shape of the line I draw. I can fully understand the huge shock and threat that photography brought to painters when it was first born. Painting used to be a means of copying the world, but now it has been replaced by photography and has shaped a new reality. When I put the painting back to its copied position and looked at the photo that had become reality with the “eyes of painting”, I didn’t know what I was seeing.