广州影像三年展2025 以 “感知生态学” 为主题，集结全球 25 个国家和地区的 80 余位影像领域创作者，呈现一场聚焦生态、感知与媒介创新的艺术盛宴。

 

参展艺术家立足多元文化背景，以摄影、影像装置、数字艺术等丰富媒介，从自然生态、城市生态、人文生态等维度展开创作，用镜头记录环境变迁，以作品探讨人类与自然的共生关系。

 

这些创作者既是影像艺术的实践者，也是时代议题的回应者。接下来，让我们逐一走近他们，解读其作品背后的创作逻辑与思想内核。

 

 

王岩是一位英籍华裔视觉艺术家，其创作聚焦于景观、身份、移民及环境等主题。她以摄影为主要媒介，通过个人创作、合作创作及参与式项目，运用静态与动态影像、声音、表演、装置和艺术家书等多种形式，从多角度探索复杂议题。

 

她的代表项目包括《母亲河》《森林》以及《来自入侵者的爱》。她获得的主要奖项包括索尼世界摄影奖专业组景观类一等奖（2019）、获先正达摄影奖专业委托类一等奖（2017）、中国北京三影堂摄影奖颁发的资生堂摄影师奖，并于2018年获英国皇家摄影学会评选为"百名巾帼摄影师"之一。

 

王岩曾在以下机构和大型项目中举办个展：英国爱丁堡皇家植物园、LOOK影像双年展、沙迦 Xposure 国际摄影节、爱尔兰摄影博物馆、第 56 届意大利威尼斯双年展以及中国三峡博物馆。她的作品被多家公共机构收藏，包括中国武汉美术馆、英国维多利亚与阿尔伯特博物馆、英国国家肖像美术馆、以及美国洛杉矶县艺术博物馆等。

 

她已出版三部著作，分别是《来自入侵者的爱 —— 杜鹃花、帝国、中国与我》（The Eriskay Connection 出版社，2025 年，布雷达）、《森林》（Hatje Cantz 出版社，2018 年，柏林）和《母亲河》（Hatje Cantz 出版社，2018 年，柏林）。

 

王岩最初在中国复旦大学接受临床医学专业训练，2005 年移居英国，2018 年获普利茅斯大学摄影学博士学位，现为英国哈德斯菲尔德大学的博士生导师及高级讲师。

 

Yan Wang Preston is a visual artist interested in landscape representation, identity, migration, and the environment. With photography as her primary medium, her solo, collaborative, and participatory projects employ still and moving images, sound, performance, installation, and the artist book to explore complex ideas from multiple angles.

 

Her major projects include ‘Mother River’, ‘Forest’, and ‘With Love, From an Invader - Rhododendrons, Empire, China and Me’. Preston’s work has won major international awards such as the 1st Prize in Professional Landscape, Sony World Photography Awards (2019); 1st Prize in Professional Commission, Syngenta Photography Prize (2017); and the Shiseido Photographer Prize at the Three Shadows Photography Annual Award in Beijing, China (2016). She was one of the Hundred Heroines awarded by the Royal Photographic Society in 2018.

 

Solo exhibitions of Preston’s work have been shown at venues the Royal Botanic Garden Edinburgh, UK (2022); LOOK Photo Biennale, Liverpool, UK (2019); Xposure Photography Festival, UAE (2018); Photo Museum Ireland (2017); Chongqing China Three Gorges Museum (2015); and the Swatch Pavilion, 56th Venice Biennale (2015). Her work is in numerous collections, including the Victoria & Albert Museum, London; National Portrait Gallery, London; Los Angeles County Museum of Art, USA; National Trust Collections, UK; Wuhan Art Museum, China; Syngenta AG; and Swatch Art Peace Hotel, Shanghai and is held by private collectors worldwide.

 

She has published three monographs: With Love, From an Invader - Rhododendrons, Empire, China and Me (The Eriskay Connection, 2025, Breda), Forest (Hatje Cantz, 2018, Berlin), and Mother River (Hatje Cantz, 2018, Berlin).

 

Originally trained in clinical medicine at Fudan University in China, Preston moved to the UK in 2005. She earned a PhD in Photography from the University of Plymouth in 2018 and is currently a doctoral supervisor and Senior Lecturer at the University of Huddersfield in the UK.

 

王岩

英国

高质量透明胶片，led灯箱

图像:75cm x 60cm x 11

灯箱:79cm x 64cm x7.3cm x 11

2020-2023

作品由艺术家提供

 

Yan Wang Preston

GBR

High quality transculent films,lightboxes

Image: 75cm x 60cm x 11

Lightbox: 79cm x 64cm x 7.3cm x 11

2020-2023

Courtesy of the artist

 

《冬：种籽》是王岩（Yan Wang Preston）历时一年关于杜鹃花探索项目的冬日篇章。杜鹃花的传播轨迹，映射出文化交流、迁徙与生存的历史遗留。20世纪初，植物猎人乔治・福雷斯特在中国西南部的云南探险时采集了数百种杜鹃花，并将其引入英国。如今，这一植物却陷入争议：它因美丽而受赞誉，却在英国被贴上“外来入侵物种”的标签。

 

和杜鹃花一样，王岩出生于中国，现居英国。她通过这个项目提出疑问：“归属”意味着什么？文化与生态的分类体系，如何决定了谁或何物得以茁壮成长？

 

在原生栖息地，杜鹃花具有重要的生态意义：在喜马拉雅山脉和中国西南部，它能稳固山坡、保护水源。而在英国，它却因挤占本地植物的生存空间而遭到非议。《冬：种籽》揭示了景观所承载的意识形态重量，质疑那些以环境“控制”之名实施的无声侵害。

 

在一年的时间里，王岩多次探访兰开夏郡一处废弃矿场上的同一株杜鹃花。冬季，她收集其种籽，带回位于约克郡的工作室，将其放在雪地上点燃——这是一个兼具毁灭与新生意味的行为：火既能用于抑制植物生长，也是（生命）再生的必要条件。

 

王岩从中国诗词、绘画以及“永恒时间”的概念中汲取灵感，将种籽塑造为生命与死亡、火焰与重生、控制与臣服的象征。作品的呈现受“天圆地方”意象的启发——圆形代表天空，方形代表大地——呼应了自然界中矛盾共存的平衡状态。

 

Winter-Seed Capsules is the winter chapter of Yan Wang Preston’s year-long exploration into the rhododendron — a plant whose movements trace legacies of cultural exchange, displacement, and survival. Introduced to Britain in the early 20th century by plant hunter George Forrest, who collected hundreds of species during his expeditions in Yunnan, southwest China, the rhododendron now holds a contested status: celebrated for its beauty, yet labelled “non-native invasive” in the UK.

 

Preston, like the rhododendron, was born in China and now lives in England. Through this project, she asks: what does it mean to belong? How do systems of classification — cultural and ecological — determine who or what is allowed to thrive?

 

In its native habitats, the rhododendron is ecologically vital: stabilising slopes and protecting watersheds across the Himalayas and southwest China. In the UK, it is vilified for crowding out native flora. Winter-Seed Capsules exposes the ideological weight carried by landscapes, questioning the quiet violences enacted in the name of environmental ‘control’.

 

Over the course of a year, Preston visited a single bush on a post-mining site in Lancashire. In winter, she gathered its seed capsules, brought them to her Yorkshire studio, arranged them on snow, and set them alight — an act of both destruction and renewal. Fire is used to suppress plants, is also essential for regeneration.

 

Drawing from Chinese poetry, painting, and the concept of eternal time, Preston frames the seed as a symbol of life and death, fire and rebirth, control and surrender. Inspired by the motif Tian Yuan Di Fang — the circle as sky, the square as earth — the resulting images reflect nature’s own balance of contradictions.

 

 

审定 / 涂晓庞

审校 / 曾睿洁

摄影 / 杜悦儿 曾雨林

资料提供 / 胡天庥

编辑 / 刘丹妮