Sailor
水手
Photography / Publication
2021
Sailor traces how queer life in China drifts through the narrow gaps between global aesthetics and local constraint. Set against megacities such as Shanghai, the project moves through remixed images and shifting cultural codes, following how queer bodies negotiate visibility, disappearance, and the quiet pressures of representation.
Through image appropriation, color modulation, lo-fi mimicry, and media remix, the work treats queer subjectivity as something assembled rather than given—fragmented, borrowed, blurred—forming within unstable circuits of desire and social legibility.
Each sub-series approaches a different mode of queer inhabitation.
Eden overlays gradient tones onto indeterminate terrains where urban structures and organic matter bleed into one another. Queer life appears here as a low vibration, suspended between softness and erasure, presence and camouflage.
The Orchid Man folds self-portraiture into anime, cyberpunk, and ornamental masculinities, examining how East Asian bodies are repeatedly coded and recoded through global pop imagery and local patriarchal scripts. Fragmentation operates both as refusal and as a means of survival.
WishList returns to the lo-fi textures of early gay digital culture, exposing how queer desire becomes simultaneously consumable and unsayable within platform economies.
Taken together, Sailor forms a shifting map of queer embodiment shaped by affective thresholds, infrastructural limits, and unstable visual grammars. Identity does not appear as essence, but as an ongoing negotiation—carried by glitch, residue, and small, persistent refusals.
《水手》沿着全球审美与本土规训之间的狭缝展开，追索中国语境中酷儿生命的漂移轨迹。项目以上海等超大型城市为背景，通过被混剪、被挪用的影像与不断变动的文化语法，描绘酷儿身体如何在可见、消失与温和规训之间周旋。
作品通过图像挪用、色彩扰动、低保真模拟与媒介混成，将酷儿主体呈现为一种被拼装的状态——断裂、借来、模糊——在不稳定的欲望回路与社会可读性之中逐步成形。
三个子系列分别触及酷儿栖居的不同方式。
《伊甸园》以渐变色覆盖那些难以归类的地带：城市与自然相互渗透，结构与植被彼此侵蚀。酷儿生命在此呈现为一种低频震荡，悬置于柔软与抹除、显现与伪装之间。
《兰花人》将自拍与动漫、赛博朋克及装饰化的男性气质并置，考察东亚身体如何在全球流行图像与本地父权脚本中反复被编码、再编码。碎片化既是一种拒绝，也是一种维持生存的策略。
《愿望清单》回到早期同志数字文化的低保真质感，揭示在平台经济中，酷儿欲望如何一边被消费化，一边被压抑为不可言说。
整体而言，《水手》构成一幅不断移动的酷儿身体地图——穿越感受的阈值、基础设施的限制与不稳定的视觉语法。身份不再是既定的本质，而是在失调、残响与微小抗拒中持续协商的过程。