Photgraphy
摄影项目

Keywords: 

Large Format Film Photography, 
Moonlight Bumps, Dawn, Road Trip
Field Investigation

Unlike the anxious visual tension presented in Todd Hido's House Hunting, Toxic Lunar Vibrations does not point the clock to the dead of night, Ruojia wanders through the rural suburbs of the United States at dusk, with the crossover of different light sources creating a staggered color temperature on the negative film, the dense vibe of no one around and the gradual rising of the night reach a low-key resonance.

Light, as a symbol, is a tool that human beings rely on, a vessel of safety and warmth. The functionality of the artificial light source itself determines the close connection between the field in which it is located and the people, but in the works of Ruojia, human is absent. Whether it is the television light or indirect lighting coming from inside the house, or the street lamps and light signs standing in the old atmosphere, they are trapped under the approaching night and dusk, unable to dispel the vast darkness, but triggering an almost ambiguous mood. The ambiguity somehow stems from the delicate balance between natural light and artificial light in following the moonrise and sunset, a reconciliation between man and nature, and every heart trying to find solace.




与Todd Hido在《House Hunting》中所呈现出的惴惴不安的视觉张力不同，《Toxic Lunar Vibrations》并未将时针指向深夜，而是游走在黄昏时分的美国各地乡村郊区间，不同光源的交叉作用于底片上潜影出错落的色温，四下无人的氤氲与逐渐拉开的夜幕达成了一种低调的共振。

灯，作为一种符号，是人类所依赖的工具，提供安全与温暖的载体。人造光源本身的功能性决定了它所在的场域与人密切的关联，而在沃若甲的作品中，灯光的服务对象缺席了，无论是从屋内透散出的电视光亮或间接照明，还是在陈旧气息中站立的路灯与灯牌，它们被困在将至的夜色与黄昏之下，无法驱散大片黑暗，却触发了近乎暧昧的情绪。暧昧在某种程度上源于自然光与人造光在遵循月升日落过程中转瞬即逝的微妙平衡，这是一种和解，关于人和自然，也关于每个试图探寻慰藉的内心。