我拍攝了類似畢加索、米羅和達(dá)利畫作的干燥的西班牙農(nóng)田

我拍攝了類似畢加索、米羅和達(dá)利畫作的干燥的西班牙農(nóng)田

The series 'Sur/Real Lands' I made during the last couple of days of 2018 in the aridest regions of Spain.

2018年最后幾天，我在西班牙最干旱的地區(qū)拍攝了《Sur/Real Lands》系列。

I traversed the hill filled countryside near Zaragoza and Toledo, where, along the backs of the mountains, dried out streams had become farmland. Not only were these parcels easy to reach, but the soil’s moisture and fertility produced by the stream’s deposits helped farmers in the dry summer season. That is why in the picture we see there are exclusively two crops: olive plantations, which can bear the great heat, and wheat, which is harvested at the start of summer before the drought sets in.

我穿過薩拉戈薩和托萊多附近布滿小山的鄉(xiāng)村，在那里，沿著山的背面，干涸的溪流變成了農(nóng)田。這些小塊土地不僅容易到達(dá)，而且河流沉積物所產(chǎn)生的土壤水分和肥力也在干旱的夏季幫助了農(nóng)民。這就是為什么在這幅圖中我們只看到兩種作物:一種是能夠承受高溫的橄欖種植園，另一種是在干旱來臨之前的夏初收獲的小麥。

Surely, the local farmers are not aware of what abstract formations their work has formed since they are only visible from the sky. After long hours of research and looking at satellite maps I was able to choose the most interesting sites. Later, on location, I photographed them in the best possible light.

當(dāng)然，當(dāng)?shù)氐霓r(nóng)民并不知道他們的作品形成了什么抽象的形態(tài)，因?yàn)樗鼈冎荒軓奶焐峡吹?。?jīng)過長(zhǎng)時(shí)間的研究和查看衛(wèi)星地圖，我能夠選擇最有趣的地點(diǎn)。后來，在拍攝現(xiàn)場(chǎng)，我用最好的光線給它們拍照。

The completed pieces are actually specially produced aerial photos that appear to be abstract paintings. They are landscapes with no horizon. The aerial perspective flattens the topography onto a plane, thus reinterpreting the landscape. Hills become patches and the slopes in between become lines, drawing map-like traces along the surface, which seems like a painter’s canvas. Time and space are suspended, and it is up to the beholder to decide what they are seeing – one-million-year-old geology, surrealism from the early twentieth century, mankind’s everyday struggle, or a prediction of future droughts.

完成的作品實(shí)際上是專門制作的航拍照片，看起來像是抽象畫。它們是沒有地平線的風(fēng)景。航空透視將地形壓平在平面上，從而重新解釋景觀。山丘變成了一塊塊的小塊，中間的斜坡變成了一行行線條，在表面畫出了像地圖一樣的痕跡，就像畫家的畫布。時(shí)間和空間被暫停，由觀察者來決定他們看到的是什么——100萬年的地質(zhì)，20世紀(jì)早期的超現(xiàn)實(shí)主義，人類的日常斗爭(zhēng)，或者對(duì)未來干旱的預(yù)測(cè)。

The creative process takes these photographic compositions in the direction of turn-of-the-century Cubism, Surrealism, or Abstract Expressionism. Strong pareidolic forms in some of the pictures recall the work of Picasso, Miró, and Dali. Other works have no focal point like Vasarely’s art, reminiscent of patchwork. Or we see endless, frame-defying patterns in the vein of Simon Hantai, the famous inventor of the Pliage technique.

創(chuàng)作過程將這些攝影作品帶向世紀(jì)之交的立體主義、超現(xiàn)實(shí)主義或抽象表現(xiàn)主義的方向。在一些圖片中強(qiáng)烈的空想形式讓人想起畢加索、米羅和達(dá)利的作品。其他作品沒有像凡撒里的藝術(shù)那樣的焦點(diǎn)，讓人聯(lián)想到拼接?；蛘撸覀兛梢栽谥纳舷壹记砂l(fā)明者西蒙·漢泰(Simon Hantai)的身上看到無數(shù)反框架的圖案。

If this is truly how nature is, then could it be that we do not create art, we just already live in a realm of art that we have simply not noticed?

如果這真的是自然的樣子，那么我們是否沒有創(chuàng)造藝術(shù)，我們只是生活在一個(gè)我們根本沒有注意到的藝術(shù)領(lǐng)域?

My works are awarded the Grand Prize at the 37th Hungarian Press Photo Competition and Award of Excellence at the 76th POYI (Pictures of the Year International) in USA are visual oscillations between the realistic documentation of a dried-out environment and the extravagance of painting.

我的作品在第37屆匈牙利新聞攝影大賽上獲得了大獎(jiǎng)，在第76屆美國POYI(國際年度圖片)上獲得了優(yōu)秀獎(jiǎng)，這是一種視覺上的振蕩，在干涸環(huán)境的現(xiàn)實(shí)記錄和繪畫的奢華之間。

The art pieces displayed at the Faur Gallery are actually composite pictures made up of multiple aerial photos. The largest ones contain as many as 100 megapixels. The unbelievably high resolution makes it possible to blow them up to human scale (1.5 meters or nearly 5 feet), so they may take their rightful place alongside paintings on gallery walls.

法爾畫廊展出的藝術(shù)品實(shí)際上是由多張航拍照片合成而成的。其中最大的可達(dá)1億像素。高得令人難以置信的分辨率使它們有可能被放大到人的尺寸(1.5米或近5英尺)，這樣它們就可以在畫廊的墻壁上與畫作平起平坐了。

The 'Sur/Real Lands' series is one part of the Water. It is a chapter that uses aesthetic means to present and to document faithfully the scale of Humanity’s struggle when faced with a water shortage, as well as to demonstrate the water crisis that is now at Europe’s doorstep.

《Sur/Real Lands》系列是《The Water.Shapes》的一部分。這一章用美學(xué)的方法來呈現(xiàn)和忠實(shí)地記錄了人類在面臨缺水的情況下所經(jīng)歷的掙扎，同時(shí)也展示了現(xiàn)在歐洲所面臨的水危機(jī)

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圖片來源：Milan Radisics