Sailor 水手
Photography / Publication
2021
Sailor traces a queer subject moving through urban experience, travel imagery, online culture, and private archives. Developed within a Chinese metropolitan context, the project considers how queer selfhood is shaped not only by local social constraints, but also by images circulating across borders—from tourism and social media to anime, commercial photography, and gay print culture. Through collage, appropriation, and re-photography, it examines how queer bodies negotiate visibility, concealment, and disappearance.
Across three books, the inquiry folds inward: Where do I want to go? Who am I? What do I want?
Eden brings together gradient fields, cityscapes, natural environments, and bodily fragments, forming a visual territory in which the urban and the organic bleed into one another. Queer life appears as a low, continuous vibration, suspended between softness and disappearance.
The Orchid Man combines self-portraiture with anime, digital filters, online imagery, and ornamental masculinity. The book opens and closes with the same message: “Profile Not Found.” As images accumulate, the subject becomes increasingly difficult to locate; fragmentation becomes both refusal and survival.
WishList re-photographs pages from back issues of gay magazines. Halftone dots, paper grain, and the white glare of the flash remain visible—not as flaws, but as traces of a present-day encounter with an inherited archive of desire.
Taken together, Sailor forms a shifting map of queer embodiment and desire. Identity emerges through repeated acts of cropping, borrowing, re-photographing, and looking, taking shape within spaces that resist being made orderly.
《水手》追索一个酷儿主体在城市经验、旅行图像、网络文化与私人档案之间的移动轨迹。项目立足于中国都市语境，关注酷儿自我如何同时受到本土社会规范与跨地域流通图像的塑造——从旅游摄影、社交媒体和动漫，到商业影像与同性恋印刷文化。作品通过拼贴、挪用与重新摄影，考察酷儿身体如何在显现、遮蔽与消失之间周旋。
三本书的追问逐层向内收缩：我想去哪里？我是谁？我想要什么？
《伊甸园》将渐变色块、城市景观、自然环境与身体碎片并置，构成一片城市与有机世界相互渗透的视觉地带。酷儿生命在这里如同一种持续而低频的震荡，悬置于柔软与消隐之间。
《兰花人》把自拍与动漫、数码滤镜、网络图像及装饰化的男性气质交织在一起。全书以同一句提示开篇和收尾：“Profile Not Found”。随着图像不断累积，主体反而愈发难以定位；碎片化既成为一种拒绝，也成为一种生存方式。
《愿望清单》重新拍摄同性恋杂志过刊的页面。印刷网点、纸张纹理与闪光灯留下的白色反光都被保留下来——它们不是瑕疵，而是当下与一份继承而来的欲望档案重新相遇的痕迹。
三本书共同构成一幅不断移动的酷儿身体与欲望地图。身份在一次次裁切、借用、重新摄影与观看之中逐渐成形，并持续存在于那些拒绝被规整的缝隙里。