看王豫明的摄影，有一种强烈的感受，似乎能看出照片背后那个隐匿着的“王豫明”来，以及那个隐匿着的“王豫明”和照片拍摄当下环境与人物之间的一种交流和互动。在他的影像里，“王豫明”和“他们”，传达着自我灵魂深处的某种东西，这种东西难以取悦人们，它不是我们在大天白日下显而易见的明朗的、轻浅的、浮游在生活表层的常态，而是幽暗的、深邃的、埋伏在潜意识里形而上的人性。当我们看这样的照片时，不自觉地会感到一种震骇和惊惧，因为我们习惯了认同表现外在的、社会共通价值背景下美好的以及庸常的一切，而对藏在内心深处那个矛盾、挣扎、不安的自我，乍现之下，如见鬼魅魍魉，难以消受。它们让人们思考。王豫明的可贵之处大概也就在于此，他并不把摄影仅仅当做“艺术”来对待，摄影本体语言中屡行“见证角色”的意义远远不是“艺术”所能承载的。他也没有陷入所谓主观与客观、纪实与画意、记录与表现、抓拍与摆拍等等语义的二元对立中。他的本旨只是自然地呈现生命真实的感觉，不排斥在自然呈现过程中随意调动某些技术上的手段。事实上，他的技术、技巧之类的东西已经消融在他的感觉中，渐臻化境。

　　在主题为《早晚》的集子中，王豫明的摄影语言风格表现得尤为明显。在长期关注中原庙会文化现象的积淀中，庙会里男女老少的精神状态已经成了王豫明摄影语言的典型符号，或者说是对农村现实的一种切分和提取，而成为文本化了的现实“喻体”。这是一个将立体化的生活，通过王豫明这个摄影主体的视觉语言修辞，自然而然地平面化的过程，也是王豫明个人意识形态参与当下现实的过程。生灭无常，迁流不注，充满痛苦、缺陷和不安的人生本质，在庙会这个特定的带有宗教色彩的环境下，在尚未接受现代文明洗礼的农村人群中凸显无遗。庙会中的人不自觉地脱下了面具，还原了人的本来面目，向神虔敬、礼拜、忏悔、祈福。这也让我想起了王豫明常说的一句话，“追求快乐和躲避痛苦是人生的两大规定动作”。王豫明混迹在他们中间，用数码相机的红外效果，以他的心所特有的一种准确度，记录下了那些庙会人物命运中“两大规定动作”的瞬间。而照片中那些模糊的影像、神经质的面容和眼神，用黑暗简化了的环境背景，视角独到的构图，也无不透露着王豫明早期作为诗人身份的印证。他的影像语言和诗的某种特质不谋而合，那些从现实中提取出的具有象征性的影像，也可以说是王豫明抒写出来的纯视觉的诗篇。《坝上七月》，是一名都市女子在空旷的坝上的一天，人物似乎有摆布的痕迹。有意思的是，在蓝天白云、艳阳高照下，被城市生活束缚压抑久了的摩登女，蓬发赤脚，单腿独立，振臂做欲飞状，有一种被释放了的力量和激情，还有一些对自然中树木花草的缱绻和爱恋，似乎在自然中得到了一些轻抚和慰藉。而到了傍晚，暮色照大地的时候，白天里舒放伸展的身姿变得紧缩闭合起来，她的面容也渐渐出现了一种萧索和冷寂。坝上风光虽好，却终究不是属于她的，到了夜，城市才是她的家。大部分现代人的境遇又何尝不是如此，厌倦了都市的喧哗和压力，兴兴头头地在大自然中追寻身心的放松，临了，还是得乖乖地打回原形，退到现实的名缰利锁中。“此心安处是吾乡”，心不安处，身处天堂，大概也还是异乡倦客。《呓语》，是一组夜晚建筑物上窗口的灯光，是洛阳这样的中小城市里常见的。也许是民办工厂里的加夜班的灯光，也是普通低层住宅里的一盏灯光，让人不由得惴想遥望这样灯光的夜行人的心情，疲惫、孤独，经历白天纷杂人事之后的落寞，和人群的疏离，又怀着一些淡淡的温情和向往。在这样沉闷、寂静和黑暗之中，确乎可以听到自己心里的声音。

　　王豫明的摄影看似捕捉了一些漫游存在着的原生态，记录了不经意间的生活碎片的组合，细细探究，在客观自然的影像中混合了自己的干预和想象。这些干预和想象是他个人文化所赋予的。个人文化背景是一个巨大的因缘网，影响个人的因素千丝万缕，就王豫明来说也是这样。王豫明这个人具有某种不确定性，他既有重庆人的敏感细腻精明，又有河南人的直爽侠义朴厚;他弱不禁风，瘦得直让人替他担心一阵大风就能把他吹倒，却又见他做事有着彻底投入的巨大热情;他对新鲜事物接受得甚至比年轻一辈还要快，对朋友不遗余力地推荐好书好想法好建议，像赤子一般了无心机。对别人的“不好”，则常常以隐忍和缄默来回应。下乡、返城、上学、工作、离职、开工作室，丰富的人生阅历使他对社会百相有敏锐的洞察，仍可以不失一颗温和良善的心。王豫明就是以他自己的三千大界、五蕴之身来解构他眼中的现实世界，那些稍纵即逝、瞬息万变的时空片断，渗透进王豫明自身的意识形态，再现出来的影像也就时时具有了令人激动的可能。

　　《东方艺术》2003.5

Wang  Yuming’s  EXPRESSION

Wan  Hongwei

Looking at Wang Yuming’s photography, we have a strong sense that we can see the Wang Yuming hiding behind it, and a kind of communication and interaction between that Wang Yuming and the environment and people in the photos. In his photos, “Wang Yuming” and “them” convey something in the deep soul of one’s own, for which it is hard to amuse people, since it is not the bright, shallow and superficial normality we can see clearly in the daily life, but the shadowy, profound and superorganic human nature hiding in subconsciousness. While looking at these photos, we can’t help feeling shocked and stricken, since we are used to identifying with all the outer, fine and common things under the average social values. But as for the contradiction, struggling and disturbed individual mind, we can’t accept it as it showing up like a ghost. But it makes us think. Wang Yuming’s value is probably in here. Because photography’s role of “identifying” is too difficult for “art” to play, he doesn’t see photography only as an “art”. He doesn’t indulge into the dual controversy of so called subjective and objective, concrete and abstract, record and exposition, snap and shoot etc.. His basic purpose is to naturally show the true feelings of life, not repelling using some technological methods freely in the process of natural showing. Actually, his techniques and skills have already blended into his feelings, and gradually become harmonious..

Wang Yuming’s photography seems to capture some moving living things and record the combination of trappings in daily life. However, he mixes his interference and imagination into the natural image. These interference and imagination are endowed by his culture background, which exerts great influence. There are many things influencing the individuals. To Wang Yuming, the case is the same.

Wang Yuming has some kind of uncertainty. He is sentimental, intricate and wise as a Sichuanese, and straight, simple and full of errantry as a Henanese. He is so thin that it seems a blow of heavy wind can fall him down, but he puts complete and strong enthusiasm into what he is doing. He accepts new things even faster than young people. He spares no effort to recommend good books, ideas and suggestions to his friends. He has little scheming as a child. He responds to others’ bad treating with enduring and muting. His abundant life experience (going to the countryside and coming back to the city, going to school, working, quitting his job and setting up a company) gives him keen observation, without losing the warm and kind heart.

Wang Yuming is just using his own judgment and observation to understand the real world in his eyes and the transient and constantly changing space trappings and sinks them into his own consciousness. Then, the reconstructed image is probable to excite people at any time.