Exposition of Works
This group of photos are images represented by me with emotions in daily life, and they are visually presented through my inner imagery. The sections or slices of these images are kneaded with melancholy and loneliness, sorrow and sadness, absurdity and nihility, ridicule and satire, and such kind of fragments also contain my anxiety and fear when I look on this world.
Using this kind of uninhibited shooting method, I want to create a kind of elusive sense of reality, let the photographic production of reality become a kind of abstract expression, search again and piece together the lost memory fragments, and through the body and practice, achieve subversion and negation, and expound my criticism on all kinds of "illusions" and "vanities" in life. I firmly believe that behind these events of "vanities", they are much closer to the real life, just like these "lost souls".
Male, born in Wenzhou, Zhejiang Province in 1972, now a freelance photographer. Selected photographers by The “TOP20•2013 Chinese Contemporary Photography Cutting-Edge Exhibition”.
In 2013, <<Lost Soul>> won the Hou Dengke Documentary Photography Nomination Award
In 2013, <<New Zone>> Zhejiang Seven Young Photographers Joint Exhibition Lishui Photography Museum, Lishui
In 2013, <<New Zone>> Wenzhou Contemporary Photography Ten People Exhibition, Wenzhou
In 2012, <<New Zone>> Zhejiang Contemporary Photography Cutting-Edge Exhibition, Zhejiang Art Museum, Hangzhou
In 2011, China • Lishui International Photography Cultural Festival Outstanding Photographer, Lishui
In 2011, "Boundary" China • Lishui International Photography Cultural Festival, Lishui
In 2010, <<Death>> The 11th China Pingyao International Photography Festival, Pingyao
Reviews of Jury
In this appraisal, Ouyang Shizhong is a surprising discovery. Viewed from the works he submitted, his field of view focuses closely on all sorts of chaos of the contemporary society, and his image language calmly and keenly approaches the mind and object of anatomy; in terms of the object and mode of interpretation, and even the relationship between path, all show relatively appropriate and rational grasp and control forces. Therefore, the internal logic of the works is quite tight, and its completion is quite good.
With respect to this group of <<Lost Soul>> images, the fragmentary image text is seemingly scattered and disorderly, as if gone with the wind, but it is exactly through this overall “messiness” that author declares the specific “messiness” of each photo, and again with this double superimposed "messiness", reflect the inner panic and utter confusion. Under these layers of chaos and messiness, so entangled, calling for each other, as if symphony music, these conflicting, isolated and haunting photos gather together from the wilderness, and photographers forcibly took away their specific meaning, making them convey another kind of clarity, that is, stern and then cruel despair. This kind of despair is like the frozen blood, transparent and sending out fishy smell.
We need not flinch from the assertion that, in the present appraisal, the fragment photos of stream of consciousness have already posed a huge aesthetic fatigue, this group of fragmentary photos by Ouyang Shizhong are not designed merely for being fragmentary, rather they mean something, they fall on the kind of psychological reaction common to this age – and this is also what I finally want to say: I hope that the author, as smart as he is, should be able to present thinking with more power, not just reaction. -- Li Nan