痛苦为我们刨析其自身存在，朔源其始末令我们获得与客观世界相分割的意识，在渗透之中背负焦虑，为存在赋予悲剧特质。通过痛苦的下沉与重构，我们与外在世界进行经验性分离产生过度内在化转折。然而，在这一悲怆的大前提下，我们越想记住，记忆却如泡沫般消失，当我们越想遗忘，却越容易固化在脑海中。

   没有什么是通往永恒的道路，而摄影术也只不过是在瞬间体验中所记录下对于个体所感的转译，在这个框架下我不禁反问自己，为什么摄影总是要建立在一个完整性的底层逻辑上？为什么要有叙事,要有文学性？从个体的出生开始，我们都背负着痛苦的枷锁，在这个探讨的语境下，痛苦不在是一个负面词汇——而是对于个体的启发性追思。

    在这个项目“born from pain”里我不仅探讨对于19世纪虚无主义的潜在内涵，也是对于摄影的反思与疑问——关于这一切并不是确定性答案，而是关于当下感受的悲剧内核。我在这个项目里，尽量让自己进入一个纯粹而私密的状态下创作，拿着我的第一部35毫米相机，抛开脑袋里的技法以及如何让自己离美学更近的念头，把握直觉回顾的痛苦本源:那些带来原始性冲动的平静张力。在某种意义上，我让摄影术回归摄影本身。

Pain dissects its existence for us, allowing us to trace its origins, thereby providing us with a consciousness separated from the objective world. In this process of penetration, we bear anxiety, endowing our existence with tragic qualities. Through the descent and reconstruction of pain, we create an experiential detachment from the external world, resulting in excessive internalization. However, within this tragic context, the more we try to remember, the more our memories vanish like bubbles. Conversely, the more we attempt to forget, the more firmly these memories solidify in our minds.

There is no one path to eternity, and photography is merely a translation of individual experiences captured in moments. Within this framework, I can’t help but question why photography always needs to be built upon a foundation of completeness. Why does it require narratives and a literary aspect? From the moment of birth, we all carry the shackles of pain. In this context of exploration, pain is not just a negative term but an inspiring reflection on the individual.

In this project, “born from pain,” I delve into not only the underlying implications of 19th-century nihilism but also a reflection and questioning of photography itself. It’s about realizing that there are no definitive answers, but rather, it’s about the tragic core of what we feel in the present. In this project, I attempt to enter a pure and intimate state of creation. Armed with my first 35mm camera, I set aside the technicalities in my mind and thoughts of how to make myself closer to aesthetics, and instead, focus on the painful origins of introspection: those calm tensions that evoke primal impulses. In a sense, I allow photography to return to its essence.