8.封岩系列作品
封岩
《木箱》
2010年
收藏级艺术微喷
148 x 100 厘米
《黑皮椅》
2010年
收藏级艺术微喷
148 x 100 厘米
（从左至右）
Feng Yan
Wood Case
2010
Digital art collection pigment print on Hanhemuhle museum etching paper
148 x 100 cm
Black Stool
2010
Digital art collection pigment print on Hanhemuhle museum etching paper
148 x 100 cm
(From left to right)
封岩，1963年生于中国西安， 现生活工作于北京
Feng Yan, born in Xian, China, 1963, lives and works in Beijing
“我表达的是存在于日常事务中那种神圣的、井然有序的秩序。” 摄影师封岩的系列作品《纪念碑》完美地呈现了他对于秩序的着迷。封岩认为艺术不该是随机和瞬间的产物。在他拍摄一张照片前，他总会用大量的时间完成文字方案和草图。在《纪念碑》项目中，封岩用了五年的时间去寻找那些对于几代中国人都不陌生却又总是容易被遗忘的物件，如博物馆中的黑皮椅和公共图书馆中的档案柜。他在镜头前无数次地挪动这些物件，然后才按下快门。他在历史的角落中找寻这些被遗忘的物件，给予他们如纪念碑般的尊重。
As he states, “I am trying to present the sacred orderly order in daily lives and objects.” This sentiment is perfectly presented in Feng Yan series Monuments. Feng does not see art as the product of improvising or ephemeral opportunities. Before he takes a photograph, he will invest a great deal of time into preparative writings and drawings. In the effort, he devoted five years to finding objects, such as the black stool from a national museum, a library file cabinet, etc., as objects familiar to the Chinese over the last couple of decades. Yet, by most people, these objects are generally neglected. Feng meticulously adjusts these objects in front of his lens before he presses the shutter. Finding those neglected objects in the shadowed corners of history, Feng treats them as monuments.
《KID MATTERS》
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