《无名之山 01》视频，2017，行为艺术，267mins.
过程：反复搬运石块堆砌四小时，制作一座山，然后反复走过，直到山峰消失。
在过去几个月里，我一直在思考着到底何为景观？当然了，“景观”其中释义的不同也随着衍生于不同地理环境之中那万千衍生之文化而发生着变化。可当抛开理性的分析，或许我们可以想到，景观一词关乎于人类这一群体，其中意义不止于教条式的定义。毕竟在我们心中，都对那最熟悉的土地，溪流，和远处的山峰有着非同一般的眷恋和向往。
对我来说，故乡的云和远方的山，似乎是构成了关于景观的一切。
《无名之湖》视频，2017，行为艺术，147mins
过程：用放大镜聚集太阳热量灼烧手中纸上湖泊干涸之前的照片 掌心在过程中被烫伤。
我在云南长大，在珠穆朗玛东方的延绵的山脉里，渡过了我的童年。在那里我见过青青绿水不起一丝波澜，远处的云彩便踏着那平静的湖面燃烧成了红色，渐入眼帘；我也见过最虔诚的藏民在山脉中行走，放弃世俗的一切，历经数年风霜，只为来到那心目中的圣山。是乡愁也好，是基于东哲那对自然独特的理解也罢，在西方数年有余，心中的景观，也只是追忆中的模样。
《无名之山02》摄影装置，injet on fabric, 80''x100''70''
过程：将一座无名山峰地震坍塌之前的景象裁剪并重新组合 最终制作雕塑。
《无名之山 03》摄影装置，c-print，50''x108''
过程：打磨50块石头，拍摄 切割 并制造平面景观。
我制造关乎于记忆的景观。在不断变迁的记忆之中，寻找属于自己的山河湖海。有时我会去想，这样的创作是否也像是那行者的朝圣？将自我放置于群山的幻象之中，便不断比较着自己细弱的身子，较之那恒古永恒的山川，只是为了复述着与记忆中土地的链接。
《云之书》摄影装置，2016，Injet on Fabric，40''x120''
过程：拍摄天空的渐变，并制作装置
《云之书02》摄影装置，2016，injet on fabric, wood, silk 45''x140''
关于我：
于兆玥（林半山）---视觉艺术家 蹦迪爱好者
zhaoyueyu1994@gmail.com | zhaoyuephotography.format.com
教育经历
OCAD University, Bachelor of Fine Arts, 2017.
展览
2016, Across the Ocean, Peninsula Art Space, NYC, United States. 2016, State of Mind, Gallery 1313, Toronto, Canada.
2014, The 5447 Art Triennial, SHUZHI Gallery, Wuxi, China.
2013, SHAN, Wan Hua Gallery, Guilin, China.
Artist statement
Zhao Yu creates mixed media artworks, photography, performances, and installations. By emphasizing Neo Confucianist and Buddhist ideology, Yu investigates the dynamics of the landscape in his works. Including the manipulation and minimization of its effects and challenges the limits of spectacle based on our assumption of what landscape means to us. Rather present a factual reality, Yu creates an illusion of landscape that is fabricated to conjure the realms of our imagination.
His mixed media artworks create a link between the landscape’s reality and that flux in its conceiver’s memories. With a subtle minimalistic approach, Yu developed forms and performance that do not always include logical criteria but are based only on physical associations, formal elements, and the action of recognizing landscape from the body, which incite the viewer to acknowledge the meaning of landscape with their personal connections.
His work is based on formal associations which open a unique poetic vein. Multilayered images of the mountains arise in which the fragility and instability of our seemingly certain reality are questioned. The meticulously planned performance resound and resonate with a relationship between the body and landscape. By choosing mainly formal solutions, constructing, and deconstructing landscape. Zhao Yu seduces the viewers into the world of eastern philosophy, “Form is emptiness and emptiness is form” , the mineralized forms are depicted in Yu’s work that only exists to punctuate the existence of things in the cycle of continuous change of the universe and life.