It was about a year ago, when they first met Shuhua, when they talked about film, painting, painting, film, and then decided to take a portrait of me, and set a time to get ready, into a studio of his own design, and the music lights were so ceremonial, that they entered another space in a moment, that people were easily brought in in in a strange environment, and, of course, during the period, that they did not go through the process as he had set out, that the whole process was not as comfortable as any other photographer, that it was particularly cosmopolitan, that it was more like talking to a stranger himself, that the cameraman came to the bystander, that the process was easy, that there was almost no later stage after the film was released, that there was no turning away from him, that it was probably the level and detail of the large picture, and that it was amplified, that it was never as clear as it was, and it was afraid of seeing himself.
A long time later, at midday, this portrait is strange, familiar, fermented in different time and space, some joy and some sadness, and I think it is a characteristic of a good work, a visualization of the portrait, and a record of the most real person, perhaps a few years later, which brings me a new feeling.
It's about the past and the present.
♪ And dream into reality ♪
Two men's play.
Goodbye.
"I'm watching."