并非出于明确的创作主题或具体的目的，只是因为可耻的懦弱与逃避，2020年我开始拍摄故乡福建，我想这是一种普遍的情感，家是一个避难所。2020年之后发生的许多猝不及防的事更让我觉得预设与概念毫无意义，以相机直面对象，用最简单也是我最熟悉的方式即刻作出反应，也许是在这样不安的环境中较为适合的方式。人神共生、万物有灵的民间信仰是福建本土文化中饶有趣味并或多或少影响着每个福建人的部分，但与我而言，更重要的并不是这里是“福建”或是任何一个地方，只是因为我成长在这里，它必然以某种方式塑造了我，某些时候，在隐秘的生命历程中会显现一种循环轮回的景象迫使我进行自我观照，我望向照片，同时望向由照片反射出的“我”，在按下快门的刹那，所有对象已然消逝，而回望过去的此刻，却是当下，这本就是直接摄影给我的启示。

Not for a clear creative theme or specific purpose, but just because of shameful cowardice and evasion, I started photographing my hometown Fujian in 2020. I think this is a universal emotion, and home is a refuge. Many unexpected things that happened after 2020 made me feel that presuppositions and concepts are meaningless. Facing the object with the camera and responding immediately in the simplest and most familiar way may be a more suitable way in such an uneasy environment.
The folk belief that humans and gods coexist and all things have spirits is an interesting part of Fujian’s local culture and affects every Fujianese to a greater or lesser extent. But for me, what is more important is not that this is “Fujian” or any place, but because I grew up here, it must have shaped me in some way. Sometimes, in the hidden life course, a cyclical scene will appear, forcing me to observe myself. I look at the photo and at the “me” reflected by the photo. At the moment of pressing the shutter, all objects have disappeared, but looking back at the past moment is the present. This is the revelation that direct photography has given me.