The difficulties in practice of aerial photography — either with helicopters originally or with unmanned aerial vehicles which appear to be popular lately — are probably beyond the experience of photographers who have never been exposed to this field. Moreover, the shots in The Gaze of Kun and Peng into the Distance are all taken in no man’s lands of Tibet, which indicates that the difficulties are particularly beyond imagination.
The whole project has spanned a ten-year time period with a single approach to take photos: It would compress the three-dimensional space into two-dimensional surface, in which the distance would be reduced to a curve. Therefore, the question bothering me before the project was how to avoid making the final products a collection of seemingly familiar images, or even an indifferent art form.
I hope that this project can bridge the gap between the concrete and the abstract, and meanwhile integrate the two sides together. In other words, I do not intend to make the sceneries vanish behind the shots I have taken. “Lines, colors and poetry” are elements that compose the photo series, but they shall not be all that audiences can perceive. My photographs are neither destroying nor replacing the sceneries in the reality. Instead of presenting something abstract, they are realities which truly exist. What I need to do is to integrate the two worlds of different dimensions in one single photo. The photo, rather than creating something illusive, will lead the audiences into a real world. This is not only an attitude toward life, but also a methodology used in making this photo series. The idea is the combination of lines and colors — but much more than that.