露间集
《露间集》灵感源自佛教金刚经中的“如梦幻泡影，如露亦如电”。记录了我多年来跌宕起伏的生活经历，当镜头对准"无为"的黑白世界时，欲望的彩影常在取景框边缘游走；而记录"有色"的炽烈时，寂照的灰度又会突然侵入画面。通过两个视角的互渗，来诉说着我在修行时与非修行时心境中所看到的世界。
“无为” 是对修行境界的视觉探索，也是一场与自我的持久角力。在黑白影调的克制中，我试图以“梦幻泡影”的视角解构执念，却也在构图的留白处暴露出未尽的妄念——那些看似空寂的画面，实则是无数个心念交锋的瞬间：慢心升起时的警觉、疑云笼罩时的顿悟。这里没有纯粹的解脱，只有不断逼近真实的自我审视。
有色” 则直面修行中未被驯服的情感暗流。强烈的色彩成为欲望、暴力、抑郁的载体，但它们并非纯粹的对立面，也并不是“劣根”的展示，而是对修行复杂性的诚实记录：烦恼即菩提，五毒亦可为道用。
在最终的编排中，黑白与彩色的并置并非对立，而是一场动态的禅观实验。按下快门的瞬间，两种视角达成微妙的平衡，正如修行本身——不在逃避，而在照见；不在割裂，而在圆融。我希望观者能在这些画面中照见自己的光明与暗涌，体认生命的完整与深邃。
Lightning in the Dew A Buddhist Lens on the Duality Within
Collection of Dew originates from the verse in the Diamond Sutra: "All conditioned phenomena are like dreams, illusions, bubbles, shadows—like dew, and like lightning." This body of work documents my years of oscillation and awakening between spiritual practice and worldly life. When the lens focuses on the monochromatic world of "Wuwei" (non-action), the colored shadows of desire flicker at its margins; while capturing the intensity of "Youse" (form), the grayscale tones of serene awareness subtly permeate the frame. The interweaving of these two perspectives mirrors the practitioner’s inner reality—simultaneously transcendent and entangled, lucid and chaotic.
"Wuwei" is a visual exploration of the meditative state, as well as a prolonged wrestling with the self. Within the restraint of black-and-white imagery, I seek to deconstruct attachments through the lens of "dreams and illusions," yet the composition’s emptiness reveals lingering delusions—those seemingly tranquil frames are, in truth, crystallized moments of inner conflict: the vigilance when arrogance arises, the sudden clarity amidst clouds of doubt. Here lies no pure liberation, only an unceasing approach toward self-truth.
"Youse" confronts the untamed undercurrents of emotion within spiritual practice. Vivid colors become vessels for desire, violence, and melancholy—yet they are not mere opposites. Red embodies both the agitation of wrath and the warmth of life force; blue reflects both the depths of despair and the cool clarity of wisdom. These images are not exhibitions of "falling," but honest records of practice’s complexity: where afflictions become awakening (klesha is bodhi). In the final sequencing, the juxtaposition of monochrome and color is not opposition but a dynamic experiment in contemplation. The moment the shutter clicks, the two visions achieve delicate balance—much like practice itself. It lies not in escape, but in clear seeing; not in division, but in wholeness. May viewers glimpse their own light and shadow within these frames, and recognize life’s profound entirety.
