凜 – spirit of Snow



  • 雪で覆われた厳しい風景になぜか温かみをも感じる物 人とともに姿を変えてきた自然そのままの自然 積み重ねられてきた物語繊細な光景未来禅の世界 人と自然のあり方を模索した心象作品群

    作品は自然の持つあたたかみを表現するため 手漉き紙を使用している 写真におさめた瞬間は又と無く 天然素材紙もまた一枚ずつ散見される楮︵こうぞ︶の 繊維が異なり 唯一無二の存在であることを引き立たせている

    撮影地北海道に初めて訪れたのは二〇〇九年の事であ 故郷であるマカオは今も急速な経済発展を続けている 写真や映像活動を通して マカオの古き良き文化を伝承していきたいという思いが強く 海外にも出向き活動を続けていた 純朴な北国の小さな町の風土を感じたいとの思いが生まれ 北海道の伊達市を訪れたそこで雪景色に魅せられ 現在も北海道を拠点とした作品作りを続けている


  • The snow covered landscape is harsh, yet somehow you can feel a trace of warmth. People evolving with their nature, as well as nature alone, untouched. The accumulated stories tell a tender scene, defying time in a world of zen. Fumbling to find the ideal state of existence between man and nature.

    To express the natural warmth, traditional paper handmade from the mulberry tree has been used. As each piece of paper has a unique grain of fiber, every moment captured through the lens is also unique.

    Season Lao first visited Hokkaido - the location of the majority of these photographs, in the winter of 2009. Born in Macau, which in recent years has undergone a peculiar and rapid economic development. Through photography and video works, he hopes to pass on the culture of the Macau he grew-up in. As his explosion took him abroad, first to China, and then Portugal, Asia, Europe and America, he began recalling his childhood neighborhood, the charm of simplistic small-town life. On the way he stumbled upon a tiny town in snowy northern Japan, Date-shi, Hokkaido. There he was inspired by the honest spirit of the rustic countryside, at that moment he decided to continue his work based from Hokkaido.


  • 白雪覆蓋的嚴峻風景為何却感到一絲暖意 與人共生演變的大自然原來的大自然 一個又一個被積累的故事纖細的光景未來禪的世界 摸索人與自然的心象作品系列

    為了呈現自然而來的暖意 作品結合傳統手製紙製作 每一次鏡頭捕捉的瞬間也是攝影中的一期一會 每一張天然素材紙自然地散布不同的植物繊維 讓獨一無二存在的概念不謀而合

    初次到訪拍攝地﹣北海道 是二零零九年的寒冬 藝術家處在經濟急速發展中的故鄉澳門 透過攝影與影像的活動期望探索與傳承澳門的獨有文化 活動擴展至海外く從中國葡萄牙亞洲與歐美等地 從中讓他重遇純樸小城的魅力 感受大自然的北國小城風土想法油然而生 次年獨赴日本北海道伊達市 在那裏被雪國意境所打動時至今天也以北海道為據點進行作品創作


  • 눈으로 덮인 엄숙한 풍경에 어째서인지 따뜻함도 느껴지는 것.
    인간과 함께 모습을 바꾸어 간 자연, 그대로의 자연.
    " 겹겹이 쌓여 온 이야기. "섬세한 광경, 미래, 선(禅)의 세계"
    인간과 자연의 본연의 모습을 모색한 심상작품들.

    작품은 자연이 가진 따뜻함을 표현하기 위해 손으로 뜬 종이를 사용하고 있다.
    천연소재의 종이 역시 한 장 한 장이 군데군데 보이는 닥나무의 섬유가 다르며,
    사진에 담긴 순간이 유일무이한 존재라는 것을 돋보이게하고 있다.

    촬영지인 홋카이도에 처음 온 것은 2009년이었다.
    고향인 마카오는 지금도 급속한 경제발전을 이루고있다.
    사진이나 영상활동을 통해 마카오의 오래된 좋은 문화를 계승해 나가고 싶다는 마음이 강해, 중국,
    포르투갈, 아시아, 유럽, 등 해외에서도 활동을 계속하고 있다.
    활동하면서 만난 작은 마을에 매력을 느껴,
    순박한 북쪽나라의 작은 마을의 풍토를 느끼고 싶다는 생각이 들어 홋카이도 다테시를 찾았다.
    그곳에서 설경에 반해, 현재까지도 홋카이도를 거점으로 작품활동을 이어오고 있다.



Perspective on Nature
The spirituality and identity of this work of mine is based on the search for a way for humans and nature to coexist.
Can modern day humans and nature coexist? As a result of not cherishing nature, and achieving economic growth, present day global capitalism is spurred on which leads to various societal issues. For example, things such as nuclear power, as well as the economic collapse of coal mining towns. From ancient times, the East Asian way of thinking has been focused on harmony between man and nature. For example, the ancient Chinese Taoist, Lao Tzu, advocated for “unconditioned nature,” which meant doing nothing and taking things as they come.
I has been said that Zen Buddhism refined Japanese people’s love of nature. The French philosopher, Félix Guattari, advocated for “ecosophy,” which is a coined term meaning “the environment=ecological philosophy;” he suggested the unification of the three perspectives in ecology: the natural environment, society, and the hearts of humans. This perspective on nature/world view has had a large influence on my artistic work.
My native town Macao is a town that combines cultures from 450 years ago of the Western Age of Discovery, and the Chinese Ming/Qing dynasties. In these past ten-odd years, global casinos have come to lay the foundation for the continuation of the city’s development.
I noticed cultural dislocation and developments caused by the movements of these enormous funds, which seemed out of place compared with the natural features of the original land. I began thinking about preserving Macao’s history and culture, so I began my activity as a fine art photograph. With the origins of Macao’s history rooted in Portugal and China, it became like visiting a small town or village with the simplicity of each contras- tive country. By means of becoming a global city, it gained an abundance of people and convenience. However, I think it also lost something very important. I deeply felt that the lives of simple small town people came from a symbiosis with nature.

Winter
This work is mainly photographs of the winter scenery in Hokkaido, Japan. In the winter of 2009, I visited Hokkaido for the first time. There were ruins of a demolished coal mine in Yubari and Bibai left there. That scene was wrapped in snow, and felt silent, pure, and peaceful in the aftermath of the tumult.
Winter is one sort of ending, just as spring is also a beginning. I think that such rotation and indecision becomes the foundation that is brought forth from emotional and cultural maturation.
If you place your body within the heavily falling snow, it is as if it cleanses your soul. Your heart becomes purely white; the scenery in front of your eyes and emotions become one indivisible entity.
This work is not simply a depiction of the landscape. I want to express an imagined landscape from the depths of spirituality. Hokkaido’s coal mine towns now overlap with Macao and its rapid changes due to funding from global casinos; they both teach us that we must live in symbiosis with nature. I have seen people who live in harmony with nature and have a way of life that coexists with other living things; even in the harsh snow-covered scenery, I felt warmth. This could be seen as a symbiosis where people cherish nature, and nature protects people. I want to find a solution for the way of existence for people and nature, who must interact with each other no matter what.

Handmade Paper and Photographs
In order to consciously have a perspective of nature, these photographs were giclee printed on a specially produced paper that was made by hand using plant-based fibers in a traditional method, instead of using photographic paper made with modern machines. Each photograph’s natural material has a unique countenance of paper mulberry tree fibers that has been associated with Chinese landscape ink paintings. I want to express the symbiosis between humans and nature through the harmony of the photographs and paper which contains the life force of plants.
Just as a sculptor carefully selects their materials, to me, the selection of handmade paper as a material is an important medium of expression. Common photographs are things that reproduce reality. However, I want to reproduce an imagined landscape the contains two spaces̶one of reality and one of the life force of nature.

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