艺术家

“人”这个词本身就像是一个化名，是一种身份形式的转变。Eloi的摄影作品与那些在街头巷尾、生活中存在的人们息息相关，我们周围的普通人是无意识的准演员，存在并生活在剧本里。

Artists

'The People' is like a pseudonym, a transformation that occurs when I practice this crucial toil. Everything is related to these occasional street characters and candid quasi-actors found everywhere, people living and existing.

建筑师、艺术家

Architect，Photographer

“Other Places” photographic series deals with the presence of light and how it shapes the sites and objects under it, being landscaped areas or man-made structures. Light (or its absence) has an outstanding diverse persistence and vibration that allows us to understand what surrounds us in radical different ways, as it has the capability to shape nature, to control our way of seeing it, thus, our capability of realizing what surrounds us.

摄影师

他的摄影作品善于用光和暗的反差构建背景，将人文叙事消融在光里，稀松的日常变得模糊又生动，呈现一种细腻的油画质感般的画面。

Professor of literature and photography

My grandmother's room was my enchanted kingdom where the ancient perfume and the sunset light united me with time and memory. There was a time of my grandmother before me and there will be a time of mine after her. Meanwhile, knots and ties were drawn. This must be the meaning of LOVE.

摄影师，Dialect 方言社创始人

整個城市曾於一夜之間停止運作。平日不被注意的植物因突然少了日常的修剪和照料，反而得以肆意生長，回到本身自然的形態。作為城市裡的人，每天都在社會這把利刃上被不斷地修剪和調教，原來與城市裡的植物有着共同的命運。久而久之，我們開始記不起自身的模樣

Photographer，Founder of Dialect

摄影师，Dialect方言社创始人

这组照片来自我观察社会项目下的一项探索计划——“照片合成”。它探讨城市活力与人造光源之间的关系。光影交错的夜景规律背后的一些深层逻辑如何影响和塑造个人的生活经历，试图审视我们日常生活中的价值体系。同时，这些静态画面下，也蕴含对城市日常生活中平凡景象的再认识和阐释。

Photographer，Founder of Dialect

“Photosynthesis” is one of my exploration plan under my observation project of the society.It explores the relationship between urban dynamism and artificial light source. On 'Photosynthesis', I tried to raise questions and ventured into the value system of our habitual world as established by the lightings at night and also the behavioral norms of an individual(a person). The cool and glamorous night view as seen in the images, I tried to find out how the prevailing society allows the lightings to lead an individual at night when developing one’s living experience. However, what is hidden under the still images and landscape, is the re-recognition and depiction of an ordinary phenomenon in a city at work.

They reclaimed land from water to put a paradise parking lot. They placed buses, mini-buses and vans inside the big green building. Every night I hear the squeaking tires of a vehicle go up and round captive in the carousel of time.

Artist

My work is comprised of photographic installations and collages made in response to the question “where are you from?” Although I define myself as both Portuguese and American, as someone who immigrated as a child, my identification as either ebbs and flows. The work embodies this slipperiness—a complicated emotional geography —in fabricated artworks which collage images of two landscapes, the California chaparral and Portuguese montado, as proxies for these two homes and identities. The Horizon series (Horizon 4 is featured in this exhibition) assembles disparate landscape images to form a single, contiguous horizon line which joins them, like a thread, into an image of a single place. The series, Dog Days on the Chaparral (Montado A is featured in this exhibition) assembles two-dimensional photos into human-sized, three-dimensional mountains that invite the viewer to inhabit their fabricated spaces. The resulting photo objects are both visual and haptic and function as icons or shrines soliciting quiet contemplation of a place just beyond reach. When I contemplate these photo objects, I reflect on my family and our history, in two countries, and collapse the distance between that narrative and myself. Although the body of work is rooted in my idiosyncratic immigration experience, itreflects a wider migrant narrative. Forces like poverty and conflict cause homes and nations tocrumple like paper and it may take generations for migrants and their descendants to feelgrounded again.