STUDIO PHANTASM

Tools mediate our relationship with the ice. Wooden chairs embody the "desirable difficulty" of childhood learning, while handmade sleds reveal the resilience of age through adaptation. Finally, youthful imagination projects the pure sensation of sliding onto a warm psychological vessel—a plush avatar that feels what we cannot. And something pure, without thoughts.

工具介入了我们与冰的关系。木椅体现了童年学习中“合意的困难”，而手工定制的雪橇则通过对环境的适应，展现出了岁月的韧性。最后，青春的想象力将滑行那种纯粹的感官体验，投射到一个温暖的心理容器上——一个替我们去感受的毛绒化身。以及某种纯粹的、毫无杂念的东西。

Not just airports, the first two photos are actually the views from the window of a high-speed train traveling from Beijing Chaoyang Station to Benxi Chaoyang. Although it seems like a square of Chaoyang, that train was heading into the dusk, presenting to my eyes the snowless winter land of the Northeast and the warm gradient of the sky at the end of the empty plains. Speeding across this vast expanse of land, the feeling is no less than flying.

不只是机场，前两张照片其实是我从北京朝阳站坐往本溪朝阳的高铁车窗外的景色。虽然似乎是朝阳的平方，但那辆列车开往暮色，这也就把东北无雪覆盖的冬季土地，与空旷平原尽头那天空温暖的渐变呈现在了我眼前。在广袤的土地上飞驰，感受并不弱于飞翔。

Some chaotic or simple street sweeps, warm artificial lighting, or the robot interviewing about the Two Sessions issues at the entrance of Xinqiao Hotel. And the 'Mysty Sparrow's Hut' where Touhou Project fans gather in Fuzhou—being chaotic is just right. The world we walk through every day, right beside us, is inherently full and crowded. Beyond throwing oneself into the hustle and bustle of daily life, photography strips away and reveals a kind of clarity.

一些混乱或简单的扫街，人造的温暖光线，或新侨饭店门口采访着两会问题的机器人。以及福州东方Project爱好者聚集的“夜雀小屋”，乱就对了，我们每天走过的，身边的世界本就是满的，拥挤的。投身忙忙碌碌的每日之外，摄影剥离出一种清朗。