My photographic project “Windowscapes” documents the urban landscape altered by the reflections of glass surfaces. Glass surfaces are interruptions of natural looking. Used in the display windows that actively draws the attention, glass surfaces have conditioned the passersby to constantly look at the constructed spaces fluxed with information. It results in a feeling of disorientation. The project explores the uncanniness of the visual tunneling through the glass structures. It questions if our senses synchronize to the pace of contemporary urbanization.

I like to photograph spaces that are registered into the daily sight. I notice the glass surfaces in these places that scatter the visual zone of focus, creating different visual planes, mingling with the graphic information within and outside. While I play with angles and structures, I find myself photographing corner shop fronts as the angular reflections are magnified and engage most with the scene behind me. Through vision, I spatially tunnel between different spots: inside the shop, the shop front, and what is behind me. 

Using these glass surfaces as intermediaries of sorts, I orchestrated my photographs through the reflections, overlapping the street view with the inside space. Through dissolving the physical distance in the two-dimensional photographs, I fixate the viewers into the experience of visual tunneling. The space and time were fixed in the moment of the frames, but the photograph still lacks a sense of clarity. They trap the viewers into circulating their visions, pushing the vision back and forth spatially. Inspired by the tradition of Trompe-l'œil, I delineate the illusions of the glass surfaces in the post production process, making alterations to the different quadrants within the image.

Historically, the use of glass surfaces as the device in photography is concurrent with capitalist culture. Eugène Atget photographed display windows in “Old Paris”, with mannequins inside the shops dressed in modern attire and Parisian street view on the outside. Lee Friedlander’s “Reflection and Shadow” captured glass surfaces in American cities in relation to his way of seeing the world. Nathan Lyons “After 911” shows the aftermath of the tragedy through the empty window-shops falling apart. The post–World War II economic expansion shifted the social geography of the cities, glasses were used extensively at the storefront to attract the pedestrians’ attention. It affected ways that people look being in urban spaces, as they engage with spectacles inside of the glass surfaces as well as the physical world behind them. This way of structuring expands spatially in contemporary context, no longer limited to the urban spaces and their peripheries.

The project questions the velocity of contemporary urbanization with its creation of visual barriers and tunnels. Are we conditioned to passive onlookers and consumers, without the knowledge of such loss of agency? How does visual tunneling affect our spans of attention? Do the natural realm of senses still hold effective today to those synthetic visions?

我的摄影项目“窗景”记录了玻璃反射改变的城市景观。玻璃表面会干扰自然景观。玻璃被用于橱窗，主动吸引人们的注意力，使路人习惯于不断地注视这些充斥着信息的构建空间，从而产生一种迷失方向的感觉。该项目探索了穿过玻璃结构的视觉隧道般的奇异感，并质疑我们的感官是否与当代城市化的步伐同步。

我喜欢拍摄那些融入日常视野的空间。我注意到这些地方的玻璃表面分散了视觉焦点，创造出不同的视觉平面，将内外的图形信息交织在一起。当我尝试不同的角度和结构时，我发现自己拍摄的是街角店面，因为角度反射被放大，与我身后的场景最为契合。通过视觉，我在不同点之间建立了空间隧道：商店内部、店面以及我身后。

我利用这些玻璃表面作为某种媒介，通过反射来编排照片，将街景与室内空间重叠。通过消解二维照片中的物理距离，我将观者引入视觉隧道体验。空间和时间被定格在画面的瞬间，但照片仍然缺乏清晰度。它们将观者困在视觉的循环中，在空间中来回推移。受错视画法（Trompe-l'œil）传统的启发，我在后期制作中勾勒出玻璃表面的幻象，并对图像中的不同象限进行修改。

从历史上看，玻璃作为摄影手段的使用与资本主义文化并存。尤金·阿杰特拍摄了“老巴黎”的橱窗，店铺内模特身着现代服饰，橱窗外则是巴黎街景。李·弗里德兰德的《倒影》捕捉了美国城市的玻璃幕墙，这与他看待世界的方式息息相关。内森·莱昂斯的《911之后》则通过空荡荡、摇摇欲坠的店铺橱窗展现了悲剧的余波。二战后的经济扩张改变了城市的社会地理，玻璃被广泛用于店面以吸引行人的注意力。它影响了人们在城市空间中的观感，他们不仅与玻璃幕墙内的奇观互动，也与玻璃幕墙背后的物质世界互动。这种构建方式在当代语境中实现了空间扩展，不再局限于城市空间及其边缘。

该项目通过创造视觉屏障和隧道来质疑当代城市化的速度。我们是否已经习惯于被动的旁观者和消费者，而没有意识到这种自主性的丧失？视觉隧道如何影响我们的注意力广度？自然的感官领域在今天对这些人造视觉仍然有效吗？