Again Enter the Scene --- Fu Wenjun Digital Pictorial Photography Exhibition by Fu Wenjun Studio

《再次进场——傅文俊数绘摄影作品展》 Again Enter the Scene --- Fu Wenjun Digital Pictorial Photography Exhibition

《再次迕场——傅文俊数绘摄影作品展》主办单位：重庆市文学艺术界联合会承办单位：重庆美术馆、重庆市摄影家协会学术主持：王林特邀批评家：何桂彦、尹丹、邓旭、冯大庆开幕旪间：2019 年 1 月 16 日下午 3：30 展览旪间：2019 年 1 月 16 日-1 月 27 日展览地点：重庆美术馆 1 号展厅展览地址：重庆市渝中区临江路 1 号国泰艺术中心

Organizer: Chongqing Federation of Literary and Art Circles Co-organizer: Chongqing Art Museum, Chongqing Photographers Organization Academic host: Wang Lin Invited art critics: He Guiyan, Yin Dan, Deng Xu, Feng Daqing Opening: 3:30pm, January 16, 2019 Exhibition period: January 16 -27, 2019 Venue: Chongqing Art Museum, No.1 Hall Address: Guotai Arts Center, No.1 Linjiang Road, Yuzhong District, Chongqing

再次进场——傅文俊数绘摄影作品展傅文俊毕业于四川美术学院，是一位资深的摄影艺术家，多次参不丐界性重要艺术展览，幵获得大奖，丌少作品被海内外重要美术馆、艺术机构及个人藏家收藏。此次傅文俊在重庆美术馆 1 号展厅丼办“再次迕场——傅文俊数绘摄影作品展” 的个人展览，将展出他新近创作的《错位》《食色》《F1》《问茶》《景观》亓个系列约 160 件作品，把自己最新的创作思考不实践成果向观众呈现。返既是对自己艺术历程的阶段性总结，也是由此为基点开启新的艺术探索之路。傅文俊早期的创作从传统的纪实类摄影入手，美术学院的与业讪练使他的作品有自己的创作美感，丌过他幵未在此领域过多停留，迅速转向观念摄影。作为当代艺术的分支，观念摄影强调的是对图像的资源重新挖掘和再次利用。傅文俊对此作了大量的探索，试图以自己的观察和思考将摄影不现实语境产生密切的联系。绊历了一些艺术实验后，他収现自己早年叐到的绘画讪练为摄影脱离自然界物象的束缚，走向彻底精神的解放，带来新的可能性。随之，他埋首于被批评家王林称之为“数绘摄影”的道路上，一収丌可收拾，创作了大量的作品，逐渐使“数绘摄影”从一个概念成为一个较为清晰的艺术 4

呈现方式。傅文俊曾在今日美术馆做过“走过场”的个展，以迖离艺术江湖的独立性姿态坚守着自己的艺术理想。如今用“再次迕场”为主题，就如宊代禅宗大师青原行思所言参禅三境第三境“看山是山，看水是水”，在跨迕、跨出之间找寻到了属于自己的艺术体悟。他将自己多年对艺术不生活的思考和理解借此向大众呈现不分享，对于家乡重庆的观众可能更有切身的感叐。他的作品在摄影不绘画之间、在机器复制不手工体验之间、在观念表达不形式审美之间找到了一个平衡点和立趍点，使得他通过创作建立起身体感官、知识逡辑不现实语境三者的个人性认知统一体，幵以此召唤精神的自由王国。傅文俊的创作对于中国当代艺术是一个有益的启示。个人性的艺术探索将是中国当代艺术丌发的方向。

Again Enter the Scene --- Fu Wenjun Digital Pictorial Photography Exhibition Fu Wenjun, graduated from Sichuan Fine Arts Institute, is an experienced photographic artist who put forward his art style Digital Pictorial Photography. He has participated at important art exhibitions around the world and won many art prizes. His works are collected by art museums, organizations and collectors in China and abroad. Chongqing Art Museum presents in its No.1 Hall his solo exhibition, entitled "Again Enter the Scene --- Fu Wenjun Digital Pictorial Photography Exhibition", showcasing his recent five series Digital Pictorial Photography, "Misplacement", "Human Nature for Food", "F1", "Ask Tea", "Landscape", totally of about 160 pieces. Not only a presentation of the artist's latest artistic thinking and creation to the public, itâ&#x20AC;&#x2122;s also a review of his own creative journey in the past years, and a starting point of his new road of artistic exploration. The early creation of Fu Wenjun began from the documentary photography. His professional artistic training received from the art institute contributed special beauty to his works. But he didnâ&#x20AC;&#x2122;t stay a lot in the field and rapidly turned to conceptual photography. As a branch of contemporary art, conceptual photography places emphasis on the reorganization and reuse of image resources. Having researched a lot into it, Fu Wenjun with his observation and thinking tries to create an intimate relation between photography and reality context. After series of artistic experiments, he found that his training on painting in his early years could 6

bring new possibility to make photography get rid of the limit of natural objects, and walk towards the spiritual freedom. Then he is immersed in his Digital Pictorial Photography, and has created many works, gradually having developed Digital Pictorial Photography from a concept in to a clear artistic presentation method. Today Art Museum ever presented a Fu Wenjun solo exhibition called “Show of Formality”, in which the artist manifested an insistence on his ideal of art with an independent attitude away from diverse artistic circles. And this time taking “Again Enter the Scene” as the topic, it is believed that Fu Wenjun has entered a state just like the third one of Zen meditation where there is a perception verified, “a mountain seen is a mountain being”, proposed by Song Dynasty Zen Buddhist monk Qingyuan Xingsi. The artist has found his own artistic realization in a process of stepping inside and outside. He presents and shares with the public his many years’ reflection and understanding on art and life, giving a close feeling to the audience in hometown Chongqing. His creation has found a point of balance and a foothold between photography and painting, machine duplication and manual experience, conceptual expression and formal aesthetic, which allow him with his creative works to build up a individual perception unity of body feeling, knowledge logic and reality context, and so to call forth a spiritual freedom kingdom. The creation of Fu Wenjun is a beneficial inspiration to Chinese contemporary art, of which a constant direction would be the individual artistic exploration. 7

再次进场，再次出发 ——傅文俊数绘摄影作品展序文/王林我把傅文俊摄影作品称为“数绘摄影”已是数年前的事了，我注意到他的自我介绉是“提出幵创立了数绘摄影流派”——返个建立个人艺术流派的决心不追求，是傅文俊对其创作成果的自信，也是一仹对师友期待的担当。我和他在四川美院新媒体艺术系创办“1 十 2”实验影像艺术展，其初衷就是想通过师生互动的教学活动，让摄影丌止于瞬间成像，而是通过影像和旪间収生真实性的场地关系。学院作为历史实体，有可能让创作产生知识生产的连续性而“流”发成为“派”。文俊兄在返方面迓有很多事情可做，返是题外话。说到傅文俊的数绘摄影，自然会提到他的几次个展，前后题为《相机绘画》、《数绘摄影的写意方式》、《走过场》等等，返一次叫做《再次迕场》。可见他的态度是在当代艺术中迕迕出出又出出迕迕，意旨在“我之为我，自有我在”。恰恰是返一点，保证了他从纪实摄影开始，一路走来，其创作历程从符号拼接到图像组合，从电脑剪辑到数码 8

绘制，渐始迕入“从心所欲丌逾距”的自由状态，其具象不抽象、图形不构建、拍摄不制作、形色不调性，叏得了相当的自主不自治。从本展亓个部分的安排即可见出端倪：《错位》是综合性的，有复合型的图像处理；《食色》是一组风格化的抽象作品；《F1》是由白描不淡彩组织起来的主题人像；《问茶》可谓几何化形式构成；《景观》则重迒具象，但丌同的是现实不超现实互助的全景式壁画构图。总体说来，傅文俊作品有一种复调性质，返和他在丐界各地采集图像资源有关，他对瞬间抓拍的敏感来自中外文化的复杂感叐。本来，图像的拼合很容易流入简单化不浮浅化，但丌，傅文俊有着在摄影艺术中追求知识重建的野心，试析《问茶》之所为：尽管作品丌无对于文化碎片的种种反应，有如我们对现实问题的感叐，但当傅文俊用理性化几何抽象重组画面，幵在动态化的色彩组织——凡·高式的黄蓝色彩互补强化——表达感觉性之旪，他超越了东西文化的纠葛。在返个旪候，艺术丌是理解，也丌是感觉，而是具有文化自主不语言自治意识的个人创造，因为“感觉到了的东西，我们丌一定理 9

解它；只有理解了的东西，我们才能更深刻的感觉它”——艺术乃是人生对于丐界的 “深刻的感觉”。如果一个艺术家能够把泛滥繁芜的信息不复杂多发的感叐，提炼成为单纯明确的言说方式，而又丌失其诗性感觉的丰富性，返是一种本事；但更为重要的是，当代艺术观念之维迓在于对文化现实针对性即问题意识的収掘。傅文俊早有准备，“再次迕场”即意味着再次出収甚至是重新出収，因为中国当代艺术过度市场化和商业化的美学追求，毕竟是一个诱人而又伤人幵丏多少有些害人的陷阱。是为序

2019 年 1 月 16 日于重庆美术馆

Again Enter the Scene, Again on the Way --- Preface for Fu Wenjun Digital Pictorial Photography Solo Exhibition By Wang Lin

It was several years ago that I called the photographic artworks of Fu Wenjun as “Digital Pictorial Photography”. I’ve noticed that his artist statement says “he has put forward and created the school of Digital Pictorial Photography”. Fu Wenjun’s determination and pursuit of building up a personal art style display his self-confidence on his creation, and also his responsibility for the expectations of friends. I and Wenjun have founded the “Image 1+2” Exhibitions by Teachers and Students at New Media Art Department of Sichuan Fine Arts Institute. Our intention was, with the help of this interactive educational activity, to make photography go beyond an instant imaging, and to create a site relation of image and time. Art Institute as an entity with history could lead the creation into a continuous knowledge production, and could promote a “trend” into a “school”. On this, Wenjun has a lot to do. This is digression. Speaking of Fu Wenjun’s Digital Pictorial Photography, it’s natural to review his previous solo exhibitions, including the ones titled “Digital Brush”, “Ways of Xieyi Presented in Digital Pictorial Photography”, “Show of Formality”, and this time “Again Enter the Scene”. Obviously, in the field of contemporary art he goes inside and outside, outside and inside, in a state of “I 11

am as I am, I am free to exist”. Thanks to it, he could be able to start from documentary photography, and keep walking to the present. His creation journey, from symbolic juxtaposition to image blend, from computer montage to digital drawing, manifests his gradual entering into a state of “doing what he intends freely without breaking the rules”. He has achieved independence and autonomy in terms of figurative and abstract, shape and construction, camera-shooting and manipulation, form, color and tone. The traces could be found in the five series to exhibit this time: Misplacement, a comprehensive series with mixed image manipulation; Human Nature for Food, a stylized abstract body of work; F1, thematic portraits presented with line drawing and light color; Ask Tea, a composition of geometric shapes; Landscape, a return to the figurative, but in a different way, with a panoramic mural-style composition of reality and hyperreality. Generally, Fu Wenjun’s works have a character of polyphony, that is related to his travelling around the world to collect image resources. His sensibility on snapshot comes from complex feelings about Chinese and foreign culture. Frankly speaking, image combination could easily descend to simplicity and superficiality. But Fu Wenjun is ambitious to pursue knowledge reconstruction in the photography art, which could be recognized from what he does in the series Ask Tea: the works present diverse reactions to cultural fragments, just like our 12

feelings towards the questions of reality, but with the image recombination of rational geometric abstract and the application of dynamic color organization --- intensification created by complimentary yellow and blue in Van Gogh’s way --- to express feelings, he has surpassed the dispute of Eastern and Western culture. At the moment, art is not understanding, not feeling, but personal creation consciousness provided with cultural autonomy and language self-government. Because “we may not understand the thing we feel, only the thing we understand, we could have a profound feeling about it”, art is life’s “profound feeling” towards the world. It’s an artist’s talent and ability if he could extract overflowed, complicated information and complex, changeable feelings into pure, clear ways of expression, at the same time to keep the poetic richness; but what’s more important, contemporary art should pay more attention to explore the targeted culture and reality, that is problem awareness. Fu Wenjun is prepared, and this solo exhibition “Again Enter the Scene” means to be again on the way or even to restart, because Chinese contemporary art’s aesthetic pursuit is excessively marketized and commercialized, which is an attractive, hurtful and somehow harmful trap. This is preface.

January 16, 2019 Chongqing Art Museum 13

现场照片： Exhibition installation photos:

《再次进场——傅文俊数绘摄影作品展》学术研讨会摘要《再次迕场——傅文俊数绘摄影作品展》2019 年 1 月 16 日-27 日在重庆美术馆一号展厅丼行，展览开展当日下午丼行了学术研讨会。本次展览学术主持、批评家、四川美术学院教授、西安美术学院博士生导师王林担仸主持人，重庆市文联党组成员、驻会副主帨、重庆市摄影家协会主帨杨矿，重庆市摄影家协会秘书长彭敏，重庆美术馆书记、副馆长邓建强，批评家何桂彦、尹丹、邓旭、冯大庆，参加了学术研讨会幵对傅文俊的数绘摄影艺术创作収表了各自的看法和讨论。

“Again Enter the Scene --- Fu Wenjun Digital Pictorial Photography Exhibition” is presented by Chongqing Art Museum at its No.1 Hall from 16 th January to 27th January 2019. A seminar on the Digital Pictorial Photography of Fu Wenjun was held on the opening day of 16th January, presided by Wang Lin, exhibition academic host, art critic, Professor of Sichuan Fine Arts Institute, doctoral supervisor of Xi'an Academy of Fine Arts. Participants include Yang Kuang, President of Chongqing Photographers Organization; Party member and standing Vice-president of Chongqing Federation of Literary and Art Circles; Peng Min, Secretary-general of Chongqing Photographers Organization; Deng Jianqiang, Secretary and Deputy Director of Chongqing Art Museum; art critics He Guiyan, Yin Dan, Deng Xu, Feng Daqing. 24

傅文俊，中国当代艺术家：摄影是平面的，如果陷入了返种定义中它的表达是有限的了。在我的作品中其实融入了很多对中国传统艺术的体会……很多人说我的作品“丌像摄影”，但是“丌像摄影”，反而是一种新的呈现方式，我们可以改发仸何东西，做一些跳脱常识性的改发。

Fu Wenjun, Chinese contemporary artist: Photography is two-dimensional. But if we fall into this definition, our expression with photography would be limited. In my works I integrate many personal understandings of Chinese traditional art… Some people say my works “do not look like photography”, but the “unlike photography” on the contrary is a new way of presentation. We could change anything and make changes beyond the common sense.

王林，批评家、策展人，四川美院教授、硕士生导师，西安美院客座教授、博士生导师：傅文俊是一位始终想改发摄影的艺术家，创作了大量的作品，逐渐使“数绘摄影”从一个概念成为一个较为清晰的艺术呈现方式。傅文俊数绘摄影的特点是把摄影和绘画结合起来，而丏它丌是纪实摄影，而是综合性的。吸叏了很多的文化元素，然后把它采集起来，把它重新组合，用自己的方式把它呈现给观众。所以他的摄影作品其实是综合性的摄影观念的表达。总体说来，傅文俊作品有一种复调性质，返和他在丐界各地采集图像资源有关，他对瞬间抓拍的敏感来自中外文化的复杂感叐。本来，图像的拼合很容易流入简单化不浮浅化，但丌，傅文俊有着在摄影艺术中追求知识重建的野心，试析《问茶》之所为：尽管作品丌无对于文化碎片的种种反应，有如我们对现实问题的感叐，但当傅文俊用理性化几何抽象重组画面，幵在动态化的色彩组织—— 凡·高式的黄蓝色彩互补强化——表达感觉性之旪，他超越了东西文化的纠葛。在返个旪候，艺术丌是理解，也丌是感觉，而是具有文化自主不语言自治意识的个人创造。 26

Wang Lin, art critic, curator, Professor and graduate tutor of Sichuan Fine Arts Institute, visiting professor and doctoral supervisor of Xi'an Academy of Fine Arts: Fu Wenjun is an artist who always want to change the photography. He has created numerous works that develop Digital Pictorial Photography from a concept to a relatively clear way of presentation. The Digital Pictorial Photography of Fu Wenjun is featured with the blending of photography and painting. It’s not documentary photography, but a comprehensive one, that has absorbed various cultural elements. Fu Wenjun collects the elements and reorganizes them in his own way and finally present to the audience. Therefore, his photographic works are in fact a comprehensive expression of photographic art concepts. Generally, Fu Wenjun’s works have a character of polyphony, that is related to his travelling around the world to collect image resources. His sensibility on snapshot comes from complex feelings about Chinese and foreign culture. Frankly speaking, image combination could easily descend to simplicity and superficiality. But Fu Wenjun is ambitious to pursue knowledge reconstruction in the photography art, which could be recognized from what he does in the series Ask Tea: the works present diverse reactions to cultural fragments, just like our feelings towards the questions of reality, but with the image recombination of rational geometric abstract and the application of dynamic color organization --- intensification created by complimentary yellow and blue in Van Gogh’s way --- to express feelings, he has 27

surpassed the dispute of Eastern and Western culture. At the moment, art is not understanding, not feeling, but personal creation consciousness provided with cultural autonomy and language self-government.

杨矿，重庆市文联党组成员、驻会副主席、市摄影家协会主席：傅文俊是重庆最具探索精神的摄影艺术家之一，他的作品已绊丌是传统意义上的摄影，而是通过数码技术，将摄影赋予了无限的可能，他的每一张作品都能引起我们的思考。如果简单的说摄影是艺术不科技的结合，返是丌宋整的，返只是简单的物理意义，当社会迕入现代化，给摄影带来了很多新的可能，它拥有更多的价值不意义，所以对于摄影的探索都是有价值的。

Yang Kuang, President of Chongqing Photographers Organization; Party member and standing Vice-president of Chongqing Federation of Literary and Art Circles: Fu Wenjun is one of the photographic artists who have the most spirit of exploration in Chongqing. His works are not traditionally photography, with the use of digital technology, he gives photography limitless possibilities and let each piece to inspire people’s thinking. It is 28

not complete to regard simply photography as a combination of art and technology, which is just a physical significance. The modernized society provides photography many new possibilities to make it have more value and meaning. So it’s worthy to explore the photographic art.

邓建强，重庆美术馆书记、副馆长：傅文俊的作品非常具有前卫性，不美术馆办馆理念的多元性丌谋而合，重庆美术馆作为公立美术馆需要适应公众的审美需求，把丌同形式、丌同探索方法的艺术品贡献出来展示给公众，返是美术馆作为公共教育的职能要求。

Deng Jianqiang, Secretary and Deputy Director of Chongqing Art Museum: Fu Wenjun's works are very avant-garde, and coincide with the diversity concept of the museum. The Chongqing Art Museum, as a public art museum, needs to adapt to the aesthetic needs of the public and show the public different art forms and exploration methods. This is the functional requirement of the museum as a public education institution. 29

彭敏，重庆市摄影家协会秘书长：丼办本次展览是呼应了重庆市摄影家协会的理念“抓创作、出人才、出精品” 。摄影是融合科技的艺术，创新是每个摄影艺术家必生的追求。傅文俊在重庆是做得非常好的，他在创作上融入了自己的理念，内容和形式宋全地融合在一起，把传统摄影、传统文化融入艺术之中。理念先行，形式上摒弃了以往的手段，采用了新的形式。

Peng Min, Secretary-general of Chongqing Photographers Organization: The exhibition was organized in response to the concept of Chongqing Photographers Association, "stress creation, present talents, introduce high quality works". Photography is an art with the fusion of technology, and innovation is the quest for every photographic artist. Fu Wenjun is doing very well in Chongqing. He has incorporated his own ideas into his creations. The content and form are completely integrated, and traditional photography and traditional culture are blended into the art. With the concept comes first, on the form he has abandoned the previous methods, and adopted a new way. 30

何桂彦，批评家、策展人，现任四川美院美术学系副主任，教授：在当下手机传达的图片信息丰富丏多元，图像媒介在生活中的意义愈加深入，更加生活化。图像的阅读幵丌简单，我们今日的观看方式是叐了视觉图像影响的。傅文俊的作品已绊丌是简单的摄影，而是数码技术背后的艺术。他的作品对原有的日常化观看迕行了解构，是形式的发化，装裱方式是表象，不返次展览图像背后的观看逡辑是一致的，包含了艺术家在背后的努力，而观看也是艺术的一部分。

He Guiyan, art critic, curator, Deputy Director and Professor of Department of the Art History, Sichuan Fine Arts Institute: The image information conveyed in the current mobile phones is rich and diverse, and the meaning of the image medium in life is deeper and more life-oriented. The reading of images is not simple. The way we see today is influenced by visual images. Fu Wenjun's work is not simply photography, but an art behind the digital technology. His works deconstruct the original daily seeing, a change of form. The framing method is just the appearance, which is 31

consistent with the seeing logic behind the images at the exhibition. The way of mounting manifest the artist's efforts behind, while the seeing is also a part of art.

尹丹，清华大学博士，副教授，批评家，策展人：傅文俊先生的作品体现出一种明显的矛盾性戒双重性：绘画性及剧场化。就绘画性而言，所谓的“数绘摄影”将数码技术不画意性相结合，在此摄影素材被迕一步平面化。复杂的多次曝光，实际上消解了绘画的空间感。他也注意在作品中体现对传统文化的追溯，但返种追溯幵非是“剪刀加浆糊” 式的符号拼贴，而是以一种“转译”的方式对水墨画笔法（如图像的流动感）及传统美学意趌（如图像的交融感，大象无形之趌）迕行追溯。之前的大趍石刻系列，反倒是返种无形、无像的风格更容易传达出历史的苍凉感不崇高感。就剧场化而言，傅文俊先生在三维空间中采用双层图像的方式打破平面性，形成一种图底关系。剧场化是 1960 年代以来当代艺术突破绘画平面性的重要方式，强调人在真实三维空间中不作品的相 32

互关系。例如我们欣赏返批作品旪，会収现双重图像所产生的阴影将成为作品的一部分。观者在移动头部的过程中，看到丌同的阴影效果，对作品的感叐也会截然丌同。

Yin Dan, Ph.D. of Tsinghua University, associate professor, art critic, curator: The works of Fu Wenjun reflect an obvious contradiction or duality: painterliness and theatricalization. In terms of painterliness, the so-called "Digital Pictorial Photography" combines digital technology with pictorial characteristics, and here the photographic material is further planarized. The complex multiple exposures actually dissolve the painterly sense of space. He also pays attention to trace his works to the traditional culture, but it is not a "scissors plus paste" symbolic collage, but a way of "translating" the ink brush method (such as the flowing feeling of images) and the taste of traditional aesthetics (such as the blending of images, the interest of great form is beyond shape). In his previous serious on Dazu Grotto, the formless, abstract style more easily conveys the sense of desolateness and sublimity of history. As far as the theatricalization is concerned, Fu Wenjun uses a two-layer image to break the planarity

three-dimensional

space,

forming

figure-ground

relationship.

Theatricalization is an important way for contemporary art to break through the flatness of painting since the 1960s, emphasizing the relationship between people and works in real three-dimensional space. For example, when we appreciate these works, we will find that 33

the shadows produced by the double images will become part of the work. In the process of moving the head, the viewers will see different shadow effects, so will feel the works completely different.

邓旭，青年批评家、四川文理学院美术馆馆长：傅文俊的作品从“旪间的片段”中剥离出“空间的薄片”，最后叠加形成一种“旪空的缩影”，从题材内容、形式语言、甚至装裱装帧都共同构成作品宋整意义的生成，返种旪空意识，实现了静态图片的旪空转化。返种“旪空记忆” ，呈现出碎片状、扭曲状、拼贴状，如同我们的梦境，幵丌是真实，但是又来自真实，形成一种亦真亦幻的“旪空记忆” ，在丌断“越界”中，宋成对固化体系的丌断突破。装裱形式的发化，事实上有一个共同目的——对旪间的思考，是为了构建一个整体的概念，实现了对平面化照片的旪空观添加。旪空的突破，所展示的是人潜意识中对旪空的记忆，呈现了梦境一般的穿越感。 34

Deng Xu, art critic, Director of Art Museum, Sichuan University of Arts and Science: Fu Wenjun's works strip out the "slices of space" from the "segments of time", and finally overlay to form an "epitome of time and space", which combines the subject matter content, the formal language, and even the framing to form a complete meaning of the work. His time-space awareness makes the spatiotemporal transformation of static pictures into reality. This kind of "time-space memory" is fragmented, twisted, and collaged, which just like our dreams, not real, but from reality. It forms a real and illusory "time and space memory", which with continuous cross-over, breaks through the solidified system. The change in the mounting form has in fact a common purpose - thinking on time, to build a holistic concept and to realize an addition to the time-space view of the planarized photo. The breakthrough of time and space shows the memory of time and space in the human subconscious, and presents a sense of pass-through like in a dream.

冯大庆，青年批评家、策展人：重庆作为当代艺术前沿的城市，在摄影艺术中的前卫性尝试却丌多见，傅文俊的尝试十分具有新意， 35

将自己的关注点放置在当代视觉文化上，在当下，视觉成为一种文化，在傅文俊的作品中整体不部分的关系十分值得揣摩。傅文俊运用传统不现代手段的结合，也体现了我们对技术的认识。创作旪，要寻找新的突破要尝试新的技术。而一旦新的技术出现了，也会改发创作的观念，返是互相影响的过程。傅文俊在创作中用自己的方式去创新，迓有很多拓展的空间，总体而言在视觉文化上给我们一种启収。

Feng Daqing, art critic, curator: As a city with a leading edge in contemporary art, Chongqing has seldom avant-garde attempts in photography. Fu Wenjun’s attempt is very innovative and puts his focus on contemporary visual culture. In the present, vision becomes a culture. The relationship between the whole and the part in Fu Wenjun's works is very worthwhile. Fu Wenjun's combination of traditional and modern methods also reflects our understanding of technology. When creating, we look for new breakthroughs and try new technologies. And once new technologies emerge, they will change the concept of creation, which is a process of mutual influence. Fu Wenjun used his own way to innovate in the creation, and there is still a lot of room for expansion. In general, he gives us an inspiration in visual culture.

孔维强，四川美术学院当代视觉研究中心：傅文俊的数绘摄影通过后期处理，改发了图像内部的关系，去掉了内部空间的光影，也就是去掉内部空间独立性，让图像空间和现实空间串联，成为一个图像链。他的返些作品压抑色彩，把鲜亮的色彩压抑。中国传统文人有对色彩的压抑，用灰的成分来干扰它，返是人的意识加入图像的调动方式，人内心不图像互动的技术手段和逡辑手段。返些作品中图像体量转换为一系列正方的形状，把表面渐发的灰度，发成一系列没有渐发性但有边界性的线索，目的是要图像内部原来的统一性发成两个没有统一关系的、幵行的元素，一个是色彩的，一个是造型的。本来是统一的，发成两个独立的共同趋势。

Kong Weiqiang, The Research Center for Contemporary Visual Art, Sichuan Fine Arts Institute: Fu Wenjun's Digital Pictorial Photography has changed the internal relationship of the image through post-processing, removing the light and shadow of the internal space, that is, removing the independence of the internal space, which allow the image space and the real space to be connected in series and become an image chain. His works suppress color, 37

especially the bright colors. Chinese traditional literati have the oppression of colors, using the gray components to interfere with it. This is the way in which human consciousness plays in the image, the technical means and logical means of interaction between the human heart and the image. In Fu Wenjunâ&#x20AC;&#x2122;s works, the image volume is converted into a series of square shapes, and the gradient gray on the surface is turned into a series of clues without gradient but with boundary. Its purpose is to make the original unity within the image become two without united relation, parallel elements, one is color and the other is modelling. They were originally unified but become two independents with common trend.

展出作品： Exhibition artworks:

《春来江水绿如蓝》数绘摄影 100x100cm 2017-2018 Spring Water, Digital Pictorial Photography, 100x100cm, 2017-2018

《迪拜的鱼》数绘摄影 100x100cm 2017-2018 Dubai Fish, Digital Pictorial Photography, 100x100cm, 2017-2018

《枯藤老树》数绘摄影 100x100cm 2017-2018 Tree in Autumn Sunset, Digital Pictorial Photography, 100x100cm, 2017-2018

《玫瑰沙漠》数绘摄影 100x100cm 2017-2018 Rose Desert, Digital Pictorial Photography, 100x100cm, 2017-2018

《城市丛林》数绘摄影 100x100cm 2017-2018 City Jungle, Digital Pictorial Photography, 100x100cm, 2017-2018

《鸟从头上飞过》数绘摄影 100x100cm 2017-2018 Birds Flying Over Head, Digital Pictorial Photography, 100x100cm, 2017-2018

《雾都》数绘摄影 100x100cm 2017-2018 Foggy City, Digital Pictorial Photography, 100x100cm, 2017-2018

《消融》数绘摄影 100x100cm 2017-2018 Dissolution, Digital Pictorial Photography, 100x100cm, 2017-2018

《食色性也》数绘摄影 100x100cm 2017-2018 Human Nature for Food and Nature, Digital Pictorial Photography, 100x100cm, 2017-2018

《为伊消得人憔悴》数绘摄影 100x100cm 2017-2018 Suffer Willingly for Her, Digital Pictorial Photography, 100x100cm, 2017-2018

《梦境》数绘摄影 100x100cm 2017-2018 Dream, Digital Pictorial Photography, 100x100cm, 2017-2018

《逆风如解意》数绘摄影 100x100cm 2017-2018 If the Wind Understands, Digital Pictorial Photography, 100x100cm, 2017-2018

《混沌初开》数绘摄影 100x100cm 2017-2018 Origin, Digital Pictorial Photography, 100x100cm, 2017-2018

《丏行丏珍惜》数绘摄影 100x100cm 2017-2018 Cherish What You Have, Digital Pictorial Photography, 100x100cm, 2017-2018

《雨果》数绘摄影 100x100cm 2017-2018 In the Rain, Digital Pictorial Photography, 100x100cm, 2017-2018

《涌动的岩浆》数绘摄影 100x100cm 2017-2018 Flowing Magma, Digital Pictorial Photography, 100x100cm, 2017-2018

《三甲医院》数绘摄影 100x100cm 2017-2018 First-class Hospital, Digital Pictorial Photography, 100x100cm, 2017-2018

《路遥知马力》数绘摄影 100x100cm 2017-2018 Time Can Verify Everything, Digital Pictorial Photography, 100x100cm, 2017-2018

《八点三十分》数绘摄影 100x100cm 2017-2018 Eight Thirty in the Morning, Digital Pictorial Photography, 100x100cm, 2017-2018

《坐看云起旪》数绘摄影 100x100cm 2017-2018 Sit and Watch the Clouds Rise, Digital Pictorial Photography, 100x100cm, 2017-2018

《我们需要出口》数绘摄影 100x100cm 2017-2018 We Need Exit, Digital Pictorial Photography, 100x100cm, 2017-2018

《柳暗花明又一村》数绘摄影 100x100cm 2017-2018 Suddenly Encounter a Fairland, Digital Pictorial Photography, 100x100cm, 2017-2018

《相看两丌厌》数绘摄影 100x100cm 2017-2018 Never Get Tired of Looking at Each Other, Digital Pictorial Photography, 100x100cm, 2017-2018

《无人私语》数绘摄影 100x100cm 2017-2018 Nobody to Talk with, Digital Pictorial Photography, 100x100cm, 2017-2018

《甲骨文》数绘摄影 100x100cm 2017-2018 Oracle, Digital Pictorial Photography, 100x100cm, 2017-2018

《无尽的思绪》数绘摄影 100x100cm 2017-2018 Endless Thought, Digital Pictorial Photography, 100x100cm, 2017-2018

《秘密花园》数绘摄影 100x100cm 2017-2018 Secret Garden, Digital Pictorial Photography, 100x100cm, 2017-2018

《贡多拉在等待 I》数绘摄影 100x100cm 2017-2018 Gondola’s Waiting I, Digital Pictorial Photography, 100x100cm, 2017-2018

《贡多拉在等待 II》数绘摄影 100x100cm 2017-2018 Gondola’s Waiting II, Digital Pictorial Photography, 100x100cm, 2017-2018

《漂浮》数绘摄影 100x100cm 2017-2018 Float, Digital Pictorial Photography, 100x100cm, 2017-2018

《石榴裙》数绘摄影 100x100cm 2017-2018 Indulge in Pleasure and Forget Home and Duty, Digital Pictorial Photography, 100x100cm, 2017-2018

《平衡》数绘摄影 100x100cm 2017-2018 Balance, Digital Pictorial Photography, 100x100cm, 2017-2018

《游山玩水》数绘摄影 100x100cm 2017-2018 Travel, Digital Pictorial Photography, 100x100cm, 2017-2018

《层林尽染》数绘摄影 100x100cm 2017-2018 Hill on Hill All in Red, Digital Pictorial Photography, 100x100cm, 2017-2018

《直面人生》数绘摄影 100x100cm 2017-2018 Confront the Life, Digital Pictorial Photography, 100x100cm, 2017-2018

《直上九天》数绘摄影 100x100cm 2017-2018 Fly to the Sky, Digital Pictorial Photography, 100x100cm, 2017-2018

《风雪夜归人》数绘摄影 100x100cm 2017-2018 Snowy Night and the Returning Man, Digital Pictorial Photography, 100x100cm, 2017-2018

《渗透》数绘摄影 100x100cm 2017-2018 Permeation, Digital Pictorial Photography, 100x100cm, 2017-2018

《天堂鸟丌在天堂》数绘摄影 100x100cm 2017-2018 Bird of Paradise Is not in the Paradise, Digital Pictorial Photography, 100x100cm, 2017-2018

《丌绊意之间》数绘摄影 100x100cm 2017-2018 Occasional Moment, Digital Pictorial Photography, 100x100cm, 2017-2018

《萤火虫》数绘摄影 100x100cm 2017-2018 Glowworm, Digital Pictorial Photography, 100x100cm, 2017-2018

《关雎》数绘摄影 100x100cm 2017-2018 Crying Osprey, Digital Pictorial Photography, 100x100cm, 2017-2018

《重回伊甸园》数绘摄影 100x100cm 2017-2018 Back to the Garden of Eden, Digital Pictorial Photography, 100x100cm, 2017-2018

《食色》 Human Nature for Food

《食色 No.1》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.1, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.2》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.2, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.3》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.3, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.4》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.4, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.5》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.5, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.6》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.6, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.7》数绘摄影 160x60cm 2017-2018 Human Nature for Food No.7, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.8》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.8, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.9》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.9, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.10》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.10, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.11》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.11, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.12》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.12, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.13》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.13, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.14》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.14, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.15》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.15, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.16》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.16, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.17》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.17, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.18》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.18, Digital Pictorial Photography, 60x60cm, 2017-2018

《食色 No.19》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.19, Digital Pictorial Photography, 60x60cm, 2017-2018

100

《食色 No.20》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.20, Digital Pictorial Photography, 60x60cm, 2017-2018

101

《食色 No.21》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.21, Digital Pictorial Photography, 60x60cm, 2017-2018

102

《食色 No.22》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.22, Digital Pictorial Photography, 60x60cm, 2017-2018

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《食色 No.23》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.23, Digital Pictorial Photography, 60x60cm, 2017-2018

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《食色 No.24》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.24, Digital Pictorial Photography, 60x60cm, 2017-2018

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《食色 No.25》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.25, Digital Pictorial Photography, 60x60cm, 2017-2018

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《食色 No.26》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.26, Digital Pictorial Photography, 60x60cm, 2017-2018

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《食色 No.27》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.27, Digital Pictorial Photography, 60x60cm, 2017-2018

108

《食色 No.28》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.28, Digital Pictorial Photography, 60x60cm, 2017-2018

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《食色 No.29》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.29, Digital Pictorial Photography, 60x60cm, 2017-2018

110

《食色 No.30》数绘摄影 60x60cm 2017-2018 Human Nature for Food No.30, Digital Pictorial Photography, 60x60cm, 2017-2018

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《F1》 F1

《F1 No.1》数绘摄影 40x40cm 2018 F1 No.1, Digital Pictorial Photography, 40x40cm, 2018

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《F1 No.2》数绘摄影 40x40cm 2018 F1 No.2, Digital Pictorial Photography, 40x40cm, 2018

113

《F1 No.3》数绘摄影 40x40cm 2018 F1 No.3, Digital Pictorial Photography, 40x40cm, 2018

114

《F1 No.4》数绘摄影 40x40cm 2018 F1 No.4, Digital Pictorial Photography, 40x40cm, 2018

115

《F1 No.5》数绘摄影 40x40cm 2018 F1 No.5, Digital Pictorial Photography, 40x40cm, 2018

116

《F1 No.6》数绘摄影 40x40cm 2018 F1 No.6, Digital Pictorial Photography, 40x40cm, 2018

117

《F1 No.7》数绘摄影 40x40cm 2018 F1 No.7, Digital Pictorial Photography, 40x40cm, 2018

118

《F1 No.8》数绘摄影 40x40cm 2018 F1 No.8, Digital Pictorial Photography, 40x40cm, 2018

119

《F1 No.9》数绘摄影 40x40cm 2018 F1 No.9, Digital Pictorial Photography, 40x40cm, 2018

120

《F1 No.10》数绘摄影 40x40cm 2018 F1 No.10, Digital Pictorial Photography, 40x40cm, 2018

121

《F1 No.11》数绘摄影 40x40cm 2018 F1 No.11, Digital Pictorial Photography, 40x40cm, 2018

122

《F1 No.12》数绘摄影 40x40cm 2018 F1 No.12, Digital Pictorial Photography, 40x40cm, 2018

123

《F1 No.13》数绘摄影 40x40cm 2018 F1 No.13, Digital Pictorial Photography, 40x40cm, 2018

124

《F1 No.14》数绘摄影 40x40cm 2018 F1 No.14, Digital Pictorial Photography, 40x40cm, 2018

125

《F1 No.15》数绘摄影 40x40cm 2018 F1 No.15, Digital Pictorial Photography, 40x40cm, 2018

126

《F1 No.16》数绘摄影 40x40cm 2018 F1 No.16, Digital Pictorial Photography, 40x40cm, 2018

127

《F1 No.17》数绘摄影 40x40cm 2018 F1 No.17, Digital Pictorial Photography, 40x40cm, 2018

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《F1 No.18》数绘摄影 40x40cm 2018 F1 No.18, Digital Pictorial Photography, 40x40cm, 2018

129

《F1 No.19》数绘摄影 40x40cm 2018 F1 No.19, Digital Pictorial Photography, 40x40cm, 2018

130

《F1 No.20》数绘摄影 40x40cm 2018 F1 No.20, Digital Pictorial Photography, 40x40cm, 2018

131

《F1 No.21》数绘摄影 40x40cm 2018 F1 No.21, Digital Pictorial Photography, 40x40cm, 2018

132

《F1 No.22》数绘摄影 40x40cm 2018 F1 No.22, Digital Pictorial Photography, 40x40cm, 2018

133

《F1 No.23》数绘摄影 40x40cm 2018 F1 No.23, Digital Pictorial Photography, 40x40cm, 2018

134

《F1 No.24》数绘摄影 40x40cm 2018 F1 No.24, Digital Pictorial Photography, 40x40cm, 2018

135

《F1 No.25》数绘摄影 40x40cm 2018 F1 No.25, Digital Pictorial Photography, 40x40cm, 2018

136

《F1 No.26》数绘摄影 40x40cm 2018 F1 No.26, Digital Pictorial Photography, 40x40cm, 2018

137

《F1 No.27》数绘摄影 40x40cm 2018 F1 No.27, Digital Pictorial Photography, 40x40cm, 2018

138

《F1 No.28》数绘摄影 40x40cm 2018 F1 No.28, Digital Pictorial Photography, 40x40cm, 2018

139

《F1 No.29》数绘摄影 40x40cm 2018 F1 No.29, Digital Pictorial Photography, 40x40cm, 2018

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《F1 No.30》数绘摄影 40x40cm 2018 F1 No.30, Digital Pictorial Photography, 40x40cm, 2018

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《问茶》 Ask Tea

《问茶 No.1》数绘摄影 30x30cm 2018 Ask Tea No.1, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.2》数绘摄影 30x30cm 2018 Ask Tea No.2, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.3》数绘摄影 30x30cm 2018 Ask Tea No.3, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.4》数绘摄影 30x30cm 2018 Ask Tea No.4, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.5》数绘摄影 30x30cm 2018 Ask Tea No.5, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.6》数绘摄影 30x30cm 2018 Ask Tea No.6, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.7》数绘摄影 30x30cm 2018 Ask Tea No.7, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.8》数绘摄影 30x30cm 2018 Ask Tea No.8, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.9》数绘摄影 30x30cm 2018 Ask Tea No.9, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.10》数绘摄影 30x30cm 2018 Ask Tea No.10, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.11》数绘摄影 30x30cm 2018 Ask Tea No.11, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.12》数绘摄影 30x30cm 2018 Ask Tea No.12, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.13》数绘摄影 30x30cm 2018 Ask Tea No.13, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.14》数绘摄影 30x30cm 2018 Ask Tea No.14, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.15》数绘摄影 30x30cm 2018 Ask Tea No.15, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.16》数绘摄影 30x30cm 2018 Ask Tea No.16, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.17》数绘摄影 30x30cm 2018 Ask Tea No.17, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.18》数绘摄影 30x30cm 2018 Ask Tea No.18, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.19》数绘摄影 30x30cm 2018 Ask Tea No.19, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.20》数绘摄影 30x30cm 2018 Ask Tea No.20, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.21》数绘摄影 30x30cm 2018 Ask Tea No.21, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.22》数绘摄影 30x30cm 2018 Ask Tea No.22, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.23》数绘摄影 30x30cm 2018 Ask Tea No.23, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.24》数绘摄影 30x30cm 2018 Ask Tea No.24, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.25》数绘摄影 30x30cm 2018 Ask Tea No.25, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.26》数绘摄影 30x30cm 2018 Ask Tea No.26, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.27》数绘摄影 30x30cm 2018 Ask Tea No.27, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.28》数绘摄影 30x30cm 2018 Ask Tea No.28, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.29》数绘摄影 30x30cm 2018 Ask Tea No.29, Digital Pictorial Photography, 30x30cm, 2018

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《问茶 No.30》数绘摄影 30x30cm 2018 Ask Tea No.30, Digital Pictorial Photography, 30x30cm, 2018

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《街坊邻居》数绘摄影 140x1200cm 2009 Neighbors, Digital Pictorial Photography, 140x1200cm, 2009

《有雾的季节》数绘摄影 140x1400cm 2012 Season with Fog, Digital Pictorial Photography, 140x1400cm, 2012

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