坚持不以影像描摹世界的是平顶山的高鸿勋。1997年，他的一组《空间·感受》摄制完成，在后来的一次幻灯演示会上，我曾经忍不住叫好，作者随口说出被我叫好的这张片子已由国外收藏家收购。《空间·感受》的特点是把一些黑白照片中最引人注目部分用颜色染了，而且色彩很“跳”，就像乐曲中突然出现的一个七和弦，那种不和谐使人萌生出遭受某种打击后产生的忧郁。在空旷的背景上，两根立杆之间凉着一张床单，色彩就涂在那床单上。或者杂草丛中坐着一个布娃娃，布娃娃也被染了……。注目这种影像你会觉得那床单或者布娃娃就是你的心绪，你被染了或者被遗弃了。影像在这里独立完成了对你的审美过程的影响，而与被摄对象原来的意义毫无关系。在2004年的平遥大展上，高鸿勋用一组《隐逸》展出了他新的探索。作者在这组照片中用电脑制作的方式，抽去了画面中主体人物的支撑点。坐着的人没了椅子，躺着的人没了荡床，骑车和推车的人没了自行车，攀单杠的人没了横杆，如此种种。乍一看来，人物的动作都显得有些滑稽，但是，假如我们愿意思考就不难发现，被抽去支撑的人物再也不是生活中那个行走者或者锻炼者，而成了一个个带来滑稽感觉的或者启发我们思考的符号，并以这种符号的身份参与“影像构成”，作用于我们的视知觉。至于读者理解到了什么，或者与作者的表现是否一致，那是主客体之间的审美问题，另作别论。比如有人就从《隐逸》中看到人不能离开支撑，并由此而联想到人的社会属性问题;也有人想到创造就在于打破常规，把别人以为不能做的事情做出来。如此等等，皆因读者的审美趣味和知识、经历，以及彼时彼刻的心境等相区别，或者与作者的初衷大相径庭也未可知。现代艺术的内容往往不提供过于具体的意指，而多是对某种情绪的表达或者渲泄，欣赏者应当自己从中领略自己能够领略到的美感，不必过于强求作品是在说什么事儿。这组作品能够获得克罗地亚萨格勒布沙龙国际摄影展金奖，不仅说明摄影师的探索是很有成效的，而且也可以看出对于摄影的创造性的要求也是世界摄影圈内都在思考的问题。关于“影像构成”这一概念，我尚不知道是否有人在什么地方使用或者论述过，假如侥幸是此文首先使用，那么我将另文对此作专门论述，不再赘言。在今年的平遥大展上，高鸿勋又拿出了他的新作《原本的真实》。这次他不仅从照片中的人物等主体方面，而且利用色彩的夸张和变幻，把背景所谓的真实性也给否定了。在他看来，“原本的真实”是在审美主体心中的。他的这种做法其实和于建华的“烧底”，在本质上是相同的，他们都在试图通过自己的行为创造一个新的事件，尽管这对于摄影来说真的是太难了。经由照片了解世界的大众审美习惯，以及迎合这种习惯形成的大多数人的摄影观，导致太多的人很难认同这种被创造的事件。但既然是探索者，就需要具有从没有路的地方踩出路来的胆略。

　　选自《河南摄影50年》

 Pictures Stepping Out Events

        Comments on Photography explorations By Henan Youth Photographers in Recent Years

Song Juling, Famous Chinese Photography Critic

 It is Gao Hongxun, from Pingdingshan, who insist on depicting the world not by reflections. I couldn’t help applauding to it on a slide shows after he finished in 1997 his series of “Space and Sense”. He thoughtlessly told me that this series had been purchaced by a foreigncollector. “Space and Sense”characterize itself in that the most eye-catching parts of some white-and-black photos are dyed with very “jumping” colours. Just like a suden seventh chord in piece of music, the disharmoniness makes people feel a kind of depression of being striken. With a vast background, a sheet is dried between two erecting pole, and the sheet is dyed with colours. Another photo shows us that a doll is dyed too sitting in a grasses……Gazing at these pictures you will mistake the sheet or doll as your mind, feeling that you are dyed or abandoned. The reflections thus influence your easthetic process independently with no relationship with the original meanings of the objects. His “Hiding & Floating”displayed Gao’s new exploration on Exhibition Pingyao’2004. In this series, the author extracted all supporting things for the leading roles in the pictures. People sit on no benches, lie on no beds, ride no bicycles, climb no horizontal bars, and so on. The gestures of the people appear so funny at a first glance. But after thinking them over, we can find that the unsupported people are no longer the walkers or excercisers. They become symbols which bring us funny senses or inspirations. They take part in the “picture forming” as symbols and act on our visual consciousness. As to whatever the readers understand out from them or whether they are in accordance with what the auther want to display,  it is another matter of the appreciation between the subjects and the objects. For example, by pondering on “Hiding & Floating”, some people know that people can’t live on nothing and furtherly associate it to the social nature of the mankind, while some other people will conclude that innovation lies in breaking convention to do things which are impossible in other’s eyes, ect. They are much different from each other, or even quite different from the author’s original intention, depending on the reader’s acknowledge, experience and the then mental state. The contents of modern art don’t usually give out very concret ideas. Mostly they are just expressions or utterances to some sentiments. The appreciators should have their own senses of beauty as they could. There is no need to stress on what the works want to express. This series of work won Golden Prize on the International Saloon in Zagreb, Croatia. This showed not only that the his exploration was fruitful, but also that it is a worldwide claim for the innovation of photography. I don’t know if there is anyone else who has ever used or discussed the conception of “Picture-forming”. If luckily it is first used in this article, I will write another article discussing specially on it other than saying anymore here.This year Gao Hongxun brought his newly-finished “Original Reality” to Pingyao Exhibition. This time he even denied the so-called reality in the background by the exaggerations and changes of the colour and from the the subjects(for example, people)in the photos. In his eyes, “the original reality” is in the heart of the reader’s. This is the same as that in Yu Jianhua’s  “Burning bottom”. Both of them have tried their best to create a new event though their own actions, though this is really too hard for photography. Knowing the world by photos is a common aesthetic habit, and has become an overwhelming photographing viewpoint in pandering to this habit. And this leads to the fact that it’s hard for most people to identify with such created events. Since it is so that they are explorers, they should have the unusual courage to trod a new path.  

From “ the 50^th Annuversary of Henan Photography”