Belly of The Giant Serpent摄影师 陈川端 制作了这部虚构的纪录片，融合了虚构和超自然的元素。通过人工智能生成的图像和超自然的故事，他传达了个人和集体的创伤。陈川端将文本到图像的人工智能创作与现实世界的图像和他自己的摄影相结合，将现实与想象无缝融合。这组作品记录了旅途中的一段意外之旅，在一处名为诺古黎斯的小镇，我度过了冬天最后的时光。育有三个孩子的道尔顿夫妇收留了我，但这里的餐前祷词引起了我的好奇，人们会在感谢树木，稻谷，乃至所有的动物之后用一句话作为结尾 ——退休教师帕特里克（Patrick ）和我说起小镇的往事，在上世纪九十年代，一颗陨石坠落在诺古黎斯，它有着蛇的鳞片，触摸过的孩童能远离疾病与危险，获得庇护；他笃信宇宙的起源也是如此：尘埃凝聚成蛇的形状，最终蜷缩成星球，进而孕育生命与文明。神父会在春天到来前举行仪式，在那几天出现的神迹成为我记忆模糊的超自然体验：包括窗外看不清脸的身影、剧痛的身体和浑身长满鳞片的梦境。我再也没能回到诺古黎斯，仅留下这些照片与手记，如果能有机会见到你，我的朋友，我会给你看看我的眼睛旁边，那处仿佛是巨蛇留下的咬痕。This collection documents an unexpected journey during my travels, in a place called Norgris Town, where I spent the final days of winter. The Daltons, who have three children, graciously took me in. However, it was the peculiar pre-dinner prayer that piqued my curiosity. After expressing gratitude for trees, crops, and all animals, people would conclude it with a phrase - “The world lies within the belly of a giant serpent.”Retired teacher Patrick shared with me the town's history. Back in the 1990s, a meteorite fell in Norgris, bearing scales like a snake. Children who touched it were believed to be protected from illness and danger. Patrick strongly believed that the origin of the universe followed a similar pattern: dust coalesced into the shape of a serpent, then curled up to form planets, giving birth to life and civilizations.The priest in Norgris would conduct a ceremony before spring arrived, and during those days, supernatural occurrences blurred the lines of my memory. These included seeing indistinct faces outside my window, experiencing intense physical pain, and dreaming of being covered in scales from head to toe.I no longer have the opportunity to return to Norgris, or perhaps Norgris does not exist. Within the belly of the giant serpent is a digestive fluid. For a certain period, I see the world enclosed, immersed within unquestionable walls.“这是一年中最令人期待的时刻，”道尔顿夫人告诉我。“天气会变暖，在仪式的这几天会发生奇迹。孩子们会围着他们的母亲。”早在20世纪90年代，一颗陨石落在镇上，它有蛇一样的鳞片，还有一个类似嘴巴和心脏的东西。触摸时，它感到温暖。就在同一天晚上，一个妈妈出生了，他的眼睛睁得大大的，瞳孔像蛇一样，明亮而锐利。![]()
陈川端
Chuanduan Chen
中国摄影师
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陈川端（b.1994），以影像作为媒介，起始于个人情感与经历的纪实，关注人与自然的联结与现代生活里的呼告，对自然科学与超自然现象着迷，尤其偏爱虚构的事物。
创作摄影书《Restrained Orders》、《Belly of The Giant Serpent》、《Restorative Topophilia》、《Swoosh Swoosh》；入选TOP20·2019 中国当代摄影新锐、获“2024 三影堂摄影奖（TSPA）大奖”；曾举办个展「旷野呼告」、「这片土地使我痊愈」、「克制秩序」、「无根据颂」等。
现作为创意人 / 艺术家工作并生活在中国，育有两只猫咪。
Chen Chuanduan (born 1994) uses imagery as a medium, beginning with documentary works rooted in personal emotions and experiences. He focuses on the connection between humans and nature, as well as the cries within modern life. He is fascinated by both natural science and the supernatural phenomena, with a particular penchant for the imaginary and fictional elements.
He has independently published the photography books titled Restrained Orders, Belly of The Giant Serpent, and Restorative Topophilia. Chen Chuanduan’s work was recognized among the 'TOP20·2019 Emerging Contemporary Chinese Photographers.' He has also won the '2024 Three Shadows Photography Award (TSPA).' Moreover, he has held solo exhibitions, including Voice in the Wilderness, Rootless Hymn, This Land Heals Me, and Restrained Orders.
