只有你离我很近 当一切都远去

This series emerged during the pandemic, when distance became the condition of every body in the world. Skin, the body's first and most vulnerable threshold, could no longer be reached. Travel stopped and studios closed. The way this practice had worked for years, in groups, in shared rooms, with the intimacy of near proximity, stopped at once.

当一切都远去时，只有你近在咫尺 就是在那段暂停的时间里完成的。它是 Ecotone, the long-form series on the body and the natural environment. Here the emotional register changes. Ecotone 将人体置于马群、树木、花朵和水域之中，视其为生态系统的一部分。本子系列则将人体单独置于陆地与水域交界处的一条狭窄的深色沙带上——人体或坐、或蹲、或蜷缩、或背对镜头，画面中除这片沙带外别无他物。.

这幅风景画极简到近乎抽象：湿漉漉的海岸、细小的波浪、一条细长的地平线。 没有树木，没有建筑，看不见天气，也没有其他人。身体独占了整个画面，却显得渺小，被挤向角落，有时在较深的沙地上几乎难以辨认。这些影像所记录的，与其说是自然中的身体，不如说是身体的 远离自然. 海浪近在咫尺；水近在咫尺；大地近在咫尺。其他一切都遥不可及。.

The shoreline is the most familiar ecotone of all, the line where land and water meet and keep redrawing each other. In Ecotone, the edge is a place of encounter. Here it is bare, and the body is alone on it.

这个标题源于那段时期的情感结构。那些在物理上依然亲近的人，彼此之间的距离变得几乎令人难以承受；而家庭范围之外的一切，则都退缩到了屏幕之中。标题中的“亲近”更多地是一种受限状态下的物理邻近，而非一种慰藉：当世界逐渐远去时，凡是仍处于伸手可及之内的，便构成了全部的体验。.

The figures are mostly photographed from the back, from a distance, in moments of stillness. The refusal of the face is deliberate. A figure seen from behind does not face the viewer; it looks where the viewer looks. Caspar David Friedrich used this device to place the viewer inside a solitude instead of in front of it, and here it carries the weight of a particular year. These are studies of the condition of being alone with a body beside water, at a time when this was one of the few forms of encounter still available. The person in them stays anonymous. The black-and-white tonal range holds the images in a register more austere than the colour work elsewhere in Ecotone.

该子系列是在一个较长的时期内创作的，至今仍是其中一个独特且连贯的系列 Ecotone. .从那以后，它再也没有重新开放过。.