HUANG Qiujie
黄秋杰
Welcome to the personal website of the HUANG Qiujie. Check out her latest work, get news and explore the artwork of the China based photographer.
Her works have long focused on the current relationship between people, society, and the environment of the Yellow River.
欢迎访问黄秋杰的个人网站。在这里您可以查看她的最新作品，获取最新消息，以及探索这位中国摄影师的艺术作品。
她的摄影作品长期关注黄河当下人、社会和环境之间的关系。
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2017-2022
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portraits
一条大河波浪宽，风吹稻花香两岸，
我家就在岸上住，听惯了艄公的号子，看惯了船上的白帆。
A wide river with broad waves, the wind blows, carrying the fragrance of rice flowers on both banks.
My home is right on the shore, accustomed to the boatman's calls,accustomed to the white sails on the boats.
这是一组典型的路上风景，类似的题材和手法其实已经有广为传播的先例。选择这种在当下非常流行的拍摄方式其实非常冒险，追赶流行经常会让作品变成新颖的陈词滥调。好在作者以娴熟的大画幅语言和细腻的观看，让影像结实而充满耐人寻味的细节。只要沉静地凝视这个世界，无论在什么时间，无论多少次，都会有所发现。
——李波《中国摄影》
2023年7月
大河上下，犹言整条黄河。
“惊涛澎湃，掀起万丈狂澜；浊流宛转，结成九曲连环；从昆仑山下奔向黄海之边，把中原大地劈成南北两面。”黄河，这条形似巨龙的中国第二长河，被赋予了太多文化和精神上的象征含义，在不同作品的光与影的交错中表现得足够宏伟壮丽。但，这是她真实的模样吗？我常常问自己。带着这样的疑惑，我在2017年踏上了第一次黄河行。经过数年在黄河边的行走与观察，也证实如我先前疑惑的那般：她完整的面貌，早已被厚重的赞歌掩藏。因此，为我们的“母亲河”立像，也成为我这五年间行走黄河两岸的设想。
2017年至2022年，我多次行途黄河沿岸9省，从青海省的青藏高原巴颜喀拉山北麓的约古宗列盆地到山东省的渤海湾入海口，由东至西，由西至东。我没有执着于追求光影与形式，而是将自身置于时代的环境中感受她的“喜”与“悲”，关注隐藏在其作为我们的母亲河背后人性的温度。改革开放40余年，黄河两岸一样面临开发利用与环境保护的现实矛盾，水利工程、高铁、太阳能、旅游开发的足迹穿梭在两岸，但传统戏剧的年轻表演者、牧羊人、住窑洞的老人、迁徙的养蜂人等，一样按照古老的方式生活在其间像悠悠黄河一样充满着宽容和淡定。在这个过程中，我不断重构作品的内容表达，通过大画幅相机平和、朴素的视角，透过形形色色的记录，将不同“地点”和“空间”的环境、人物、景观、物件，借由影像联结，在回望黄河历史的同时，尝试尽可能客观地塑造出我身处的时代下黄河最真实的模样。
作为青年学子，我无法确认当下的作品能否作为“宏大叙事”的呈现，能否代表黄河两岸当下的全貌。但至少经过这几年不间断地行走与拍摄，作品在体量上和内容的丰富度上都基本达到了我对于黄河两岸现状的观察与设想。同时，我也站在摄影创作者的角度，在考虑摄影作为表达工具之时，该以何种方式自洽地展现内在，展现我对于黄河、对于身处当下的所思所惑；又如何通过作品，打破掩藏在厚重的光影赞歌下的黄河印象，真正展现自身所处的时代面貌和生生不息的文化精神。因此，我选择了回归摄影的原点，回到其最本真的特质：守望记忆，记录时代。
"Surging waves, set off ten thousand furious waves; turbid flow is turning, forming a nine-curve chain; from the Kunlun Mountains to the Yellow Sea side, the Central Plains split into the north and south." The Yellow River, the second longest river in China shaped like a dragon, has been endowed with too many cultural and spiritual symbolic meanings. She is expressed grandly enough in the interplay of light and shadow in different works. But is this her actual appearance? I frequently ask myself. With such doubts, I embarked on my first trip to the Yellow River in 2017. After several years of walking and observing the Yellow River, it has been confirmed as I suspected earlier: her complete appearance has long been hidden by the heavy hymns. Therefore, it has become my idea to depict our "Mother River" with the camera during these five years of walking on both sides of the Yellow River.
From 2017 to 2022, I traveled many times through the nine provinces along the Yellow River. The itinerary ranges from the Yoguzonglei Basin in the northern foothills of the Ba Yan Ka La Mountains on the Tibetan Plateau in Qinghai Province to the mouth of the Bohai Bay in Shandong Province. From east to west and west to east. In the process of shooting, I did not insist on pursuing light and shadow and form, but put myself in the environment of the times to feel her "joy" and "sadness", through the lens to focus on the human nature hidden in the back of its mother river as our temperature.
More than 40 years after the reform and opening up, both sides of the Yellow River are facing the real contradiction between exploitation and environmental protection, water conservancy projects, high-speed railways, solar energy, and the footprints of tourism development are shuttling on both sides of the river, but the young performers of traditional dramas, the shepherds, the old people living in kilns, the migrating beekeepers, etc., are also living according to the old ways, just as the long Yellow River is full of tolerance and calmness.
In this process, I keep reconstructing the content of my works. Through the calm and simple perspective of a large format camera, I hope to connect the environment, people, landscape as well as objects in different "places" and "spaces" through various kinds of records. While looking back at the history of the Yellow River, I try to be as objective as possible to portray the real appearance of the Yellow River in my time.
As a young student, I can't confirm whether the present work can be presented as a "grand narrative" and whether it can represent the whole picture of the two sides of the Yellow River at present. However, at least after several years of continuous walking and shooting, the works have basically reached my observation and conception of the current situation of the two sides of the Yellow River in terms of volume and richness of content. At the same time, from the perspective of a photographer, I am also thinking about how photography as a tool of expression should be self-concordant to show the inner self, to show my thoughts and confusions about the Yellow River and the present; and how to break the impression of the Yellow River hidden under the heavy hymn of light and shadow and really show the face of the times and the spirit of the endless culture through my works. Therefore, I chose to return to the original point of photography, to its most genuine qualities: to keep watch over the memory and record the times.