Shadow Curtains #9a overlays two photographic slides of the same ginkgo tree—one in color, the other in grayscale—captured from opposing sides of the tree’s canopy. The resulting image, printed in ink on Mitsumata paper and mounted as a four-panel byobu folding screen, weaves together multiple tonal registers and temporal layers into a single, spatially expansive composition. Across the panels, warm golden hues dominate, suggesting the seasonal blaze of ginkgo leaves in full fall color. The rich yellows and oranges are contrasted and complicated by shadowy greys and deep blacks—traces of the overlaid grayscale slide—giving the entire image a veil-like texture.

The tree itself is a historic specimen located at Guanyin Chan Temple, just south of Xi’an Province, said to have been planted in honor of a visit by the Tang emperor, Li Shimin. Through this double exposure and folding format, Cherney transforms the ginkgo into both subject and structure—its branches not only bearing leaves but also diffusing memory. The screen’s physical hinges allow the image to bend and shift with the viewer’s movement, reconfiguring photography into an experiential, architectural form of reflection.

「影幔 #9a」由两张从同一株银杏树冠两侧分别拍摄的彩色与黑白底片叠加而成。作品采用三椏纸印制，并以四联屏风形式装裱展示。画面通过多重色调层次的融合，从不同视觉维度构建出充满张力的图像——金秋银杏的明黄色调在屏风中占据视觉主导，而黑白底片带来的灰阶与深黑色调自彩色底片的空白处透出，为画面覆上一层若隐若现的纱幕质感。

这株被记录的银杏树生长于西安以南的观音禅寺，据传为纪念唐太宗李世民御驾亲临所植。秋麦通过双层底片叠加与屏风媒介的运用，使古树既成为影像的视觉主体，又转化为承载历史的结构性符号。屏风铰链设计的巧思让图像能随观者移动产生微妙变化，由此赋予静态摄影以可游走感知的空间维度与动态观看体验。