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。

 

 

戴思乐成长于美国加州圣荷塞的葡裔美国人社区。他曾在法国、葡萄牙、中国西部及澳门生活十四年，之后返回美国，在罗彻斯特理工学院（Rochester Institute of Technology）完成摄影及相关媒体艺术硕士学位。此前，他曾在圣何塞州立大学及里斯本图像与传播技术学校（Escola Técnica de Imagem e Comunicação）学习摄影，并接受语言学训练。

 

他的创作灵感部分源于魔幻现实主义文学，同时也建立在对移民、侨居、流离失所与身份认同等议题的持续研究之上。戴思乐采用一种跨媒介的创作方法，将摄影、日常材料以及多种当代与历史摄影技术结合，并融入民间手工制作的经验与方式。他通过影像装置与拼贴等形式，运用自身拍摄的图像、现成影像及各类材料的语义特性，以此呈现移民及其后代复杂而多层的生命叙事。

 

作为艺术家和教师，戴思乐的作品曾在美国、欧洲和中国澳门特别行政区等多地展出，并获得多项认可和奖项，包括OFF Bratislava艺术节（2022年Lee Award）、银眼摄影中心（2020年Silver List）、Photolucida（2020年Critical Mass finalist）、Soho Photo Gallery（2020年National Competition）、FotoFika（2020年All Stars Project）等。

 

Hugo Teixeira grew up in the Luso-American community in San Jose, California. After living abroad for fourteen years in France, Portugal, Western China, and Macau, he returned to the United States to complete an MFA in Photography and Related Media at the Rochester Institute of Technology in 2020. Prior to that, he studied photography at San Jose State University and at Lisbon’s Escola Técnica de Imagem e Comunicação, and received training in linguistics.

 

His work draws inspiration from magical realist literature as well as research on migration, expatriatism, displacement, and identity. Adopting a hybrid approach to production, Teixeira combines vernacular fabrication skills with a range of historical and contemporary photographic techniques. His installations and collages make use of the semantic properties of his photographs, found images, and everyday materials to articulate the complex narratives carried by migrants and their descendants.

 

As an artist and teacher, Teixeira has exhibited work in the United States, Europe, and Macau, China. His work has been recognized and awarded by the OFF Bratislava festival (2022 Lee Award), the Silver Eye Center for Photography (2020 Silver List), Photolucida (2020 Critical Mass finalist), Soho Photo Gallery (2020 National Competition), FotoFika (2020 All Stars Project), among others.

戴思乐

葡萄牙/美国

木材、喷墨打印件、紧固件、夹具

253cm x 163cm x 163cm

2020

作品由艺术家提供

Hugo Teixeira

PRT/USA

Lumber, inkjet prints, fasteners, clamps

253cm x 163cm x 163cm

2020

Courtesy of the artist

 

当我们走进这件摄影装置时，我们不仅仅观看影像——我们被邀请进入一个由材料、记忆与身体感知织就的空间。戴思乐以木材、喷墨打印、金属夹具等日常工业材料，建构了一座关于家园的“记忆容器”。

 

作品拼贴了两片地貌：加州灌木地与葡萄牙蒙塔多林地。这不是简单的地理对比，而是艺术家童年移民后仍在流动的双重归属感的物质化表达。在全球离散时代，数百万人在两个世界之间摇晃， 代际更新却仍未能消解这种根的缺失。艺术家的作品完成了一次悖论的转化：将“触不可及”的乡愁转化为可以被行走、被凝视、甚至被触摸的物质现场。

 

在“感观的地层”这一展览框架中，这件作品代表了对算法视觉扁平化的一次直接回应。 每根木料都承载了切割、组合的记忆——这是模拟工艺在数字时代的执拗坚守。它以缓慢、有形的方式对抗屏幕审美，恢复影像与物质、身体与空间的原始连接。在作品中，每一处木纹、每一个暴露的结构都以物质的语言诉说着移民的故事—— 不是话语，而是那种穿越代际仍未平复的、在身体里生长的乡愁。

 

As we stand before this photographic installation, we do not merely view images—we are invited into a space woven together by materials, memory, and embodied perception. Hugo Teixeira, employing vernacular materials such as lumber, inkjet prints, and metal fasteners, constructs a “memory container”dedicated to the theme of home.

 

The work collages two landscapes: the California chaparral and the Portuguese montado. This is not a simple geographical comparison, but rather a material manifestation of the artist’s dual belonging that continues to flow after childhood migration. In an age of global diaspora, millions oscillate between two worlds, yet generational change fails to dissolve this sense of rootlessness. Teixeira’s work accomplishes a paradoxical transformation: converting the intangible nostalgia into a material site that can be traversed, gazed upon, and even touched.

 

Within the exhibition’s framework,of "Strata of Sensi-Visibilities", this work directly counters the flattening of algorithmic vision. Each piece of wood carries the memory of cutting and assembly—analog craft's stubborn persistence in the digital age. Through slow, tangible means, it resists screen aesthetics and restores the primal connection between image and matter, body and space. Here, every wood grain and exposed structure speaks in the language of materials about the immigrant’s story—not through words, but through that unresolved longing across generations that growing within the body.

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 叶舜

图片 / 曾雨林 杜悦儿

编辑 / 刘丹妮