This documentary series is about homes of university students from Chang Shun in Guizhou, shot between 2018 and 2019, just before China announced it had met its target of lifting all its people out of extreme poverty in 2020.
Changshun is a tiny county about the same size as Hong Kong, and its population is just about 200,000 and is declining. Changshun has been on the agenda of Poverty Eradication in China since the programme launch in 2012.
One of the students I visited said wildflowers give her a sense of well-being. This has inspired me to revisit the concept of "home" in the context of the often stereotyped perception of "poverty" in rural China.
這是關於貴州長順一些大學生的家居面貌的攝影紀錄。 這系列拍攝於2018年至2019年之間。2020年中國宣布實現2020年全民脫貧目標。長順是一個很小的縣城，面積和香港差不多。 但它的人口只有二十多萬，而且還在不斷下降中。自2012年國家的扶貧政策出台以來，貴州一直在中國脫貧攻堅議程中佔一重要席位。我拜訪的一位學生說，野花給她“幸福感”，幸福感。 這激發了我在中國農村對“貧困”的刻板印像中重新審視家的概念。 通過我的攝影，我想表達他們對家園的熱愛。
Xìngfú gǎn幸福感/Angela Lam
Photographer / Editor：8” x 8” | Hard Cover | 42 pages
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Xìngfú gǎn - Exhibition and Awards ｜ 展覽及獎項：
2021 RSBS Photography Prize Exhibition | 2021年度RBSA（皇家伯明翰藝術家協會）攝影獎雙年展
2021 RSP (Royal Photographic Society) Documentary Photographer of the Year, Shortlisted | 皇家攝影學會2021年度紀實攝影師 - 入圍
“This series of photographs asks for radical empathy through intimate photographs of homes. The strong focus on the materiality within the homes with the choice of black and white is beautifully witnessed from the viewer. It feels as if the owners are present in these domestic spaces, as we retrace the assembling of the homes, the way objects are carefully placed with love and care, capturing the many stories that are temporarily ghostly held in the space we get to contemplate.”
Curator, New Art Exchange
“At a time when the domestic space has become a source of inspiration for many, Lam’s work stands out. The soft black and white palette creates a warmth appropriate to the subject matter – the photographs feel like home. There is a quiet meditative quality to these images, wherein small details reveal the creativity and personality found in different households. These are portraits without the subject needing to be included in the frame. Lam’s approach is sympathetic and non-intrusive, using photography to demonstrate how self-expression is found in the most private of spaces.”
Curatorial Assistant, Tate