《裂》的启发
观念摄影的提出由来已久，但观念之谓却不堪明了。相对于纪实摄影而言，我想不外乎有两个区别：一是在拍摄之前有观念设定，不同于自然抓拍，当然摆拍亦有观念设定与形象设定的不同；二是拍摄后进行特殊处理，特别是计算机技术的处理，使观念内容通过形象的异样化显现出来。摄影作品最根本的力量在于影像来源的真实性，由对象而来的影像，即使通过分裂、变异和重组，它们仍然在相当程度上保持着对象存在于世的特征。
田太权的《裂》系列摄影作品属于荒诞的：突兀、异样、陌生。不仅玻璃裂纹作为预设的观念符号在不断消解对象世界，而且狭窄的角形空间和门、镜、窗的纵向分裂以暴力性威逼摄入其中的人。更不用说那些超现实的组合、血腥场面和残缺肢体的处理，这一切似乎来自破坏的欲望。艺术家想干什么呢？他不满足对于一个现实场景的实拍，因为这会落入惯性审美的陷阱而成为庸俗影像的一部分。艺术家需要的是不同于现实表象的真实性，即存在的荒诞与精神的矛盾。人和世界的紧张关系在田太权的手中得到了充分甚至是过度的呈现。老实说，我不太喜欢过于夸张的血腥和暴力，更喜欢他那些在强烈光影下略生裂变的作品。——对艺术而言，观念止于深刻的感觉，而不是深刻本身的言说。
Concept photographing has come into being for a long time. However, the understanding on Concept is not so clear. Comparing with on-the-spot photographing, I think there are two distinctions. One is the photographer has had a concept in mind before photographing which is different from natural snapshot. Of course the setting of objects has a difference in concept and image. The other is some special processing after the photographing is done, especially the CAD help. It can draw the content of concept out of the dissimilation of image. The basic power of photographing works is the truth of the image sources. The images from the real objects, even if they are split, variated and restructured, can keep the characteristics of the objects in some degree.
The series of works on Crack by Taiquan Tian belongs to absurdism and shows us unexpected, different and strange images. Not only can glass crack be set as concept symbol to clear up the actual objects, but also the narrow squaring space with the lengthways crack of doors, glasses and windows can bully the viewers involved in it with a sense of violence. Let alone those surrealistic combinations, violent and bloody scenes and the processing on the incomplete body, all of this come from the desire of destruction. What does the artist do? He is not satisfied with the on-the-spot photographing, because it will lead to the trap of routine standard of appreciation so that makes it become a part of common photographing. What artists need is the truth different from the actual presentation, which is the conflict between the absurdity of presentation and the concept. The tension between people and the world in Tian’s works is fully or even excessively represented. Actually speaking, I don’t like over exaggerated bloodiness and violence very much. I prefer to those little cracking works under the glaring light. As for art, concept is all for a profound sense, not profundity itself.