Writing / 随记
I use the camera less to collect subjects than to test relations: the distance between a body and a monument, between an interior and the system that produced it, between a road and the terrain it claims to cross. The photograph is not a conclusion. It is a temporary measure taken from one position.
我使用相机，并不是为了收集题材，而是为了检验关系：身体与纪念碑、室内与制造它的系统、公路与它试图穿越的地形。照片不是结论，而是从某个位置作出的临时测量。
A place cannot be reduced to its recognised image. I am interested in what surrounds that image—the service entrance, the waiting area, the unfinished edge, the objects left after use. These secondary spaces often describe a city more precisely than its official view.
一个地点无法被简化为它最著名的图像。我更在意图像周围的部分：服务入口、等候区域、尚未完成的边缘，以及使用之后留下的物件。这些次要空间往往比官方景观更准确地描述一座城市。
The older photographs remain because an archive should preserve changes in attention, not only confirm a present taste. Their technical limits and uncertain compositions belong to the history of the work. Editing gives them context without pretending they were made from the position I occupy now.
早期照片被保留下来，因为档案应当保存注意力的变化，而不只是证明当下的审美。它们的技术限制与不确定构图属于作品的历史。编辑为其建立语境，但不会假装它们来自今天的观看位置。
Stations, museums, hotels, temples, and government buildings organise movement before they communicate meaning. I photograph their repeated materials and controlled passages as evidence of how authority becomes ordinary—absorbed into floors, barriers, signs, and light.
车站、博物馆、酒店、寺庙与政府建筑，总是在表达意义之前先组织人的移动。我拍摄其中重复的材料与受控通道，观察权力如何变得日常，并被吸收到地面、护栏、标识与光线之中。
Landscape enters the work through changing conditions rather than a fixed view. Fog removes scale; dry light makes construction visible; humidity brings distant things forward. Animals, vegetation, and roads are not additions to the scene but different agents occupying the same field.
景观通过不断变化的条件进入作品，而不是以固定视野出现。雾消除尺度，干燥的光使建造过程显形，湿度则把远处的事物推到眼前。动物、植被与道路并非风景的附属物，而是占据同一场域的不同行动者。