In Da Ming Mountain Study #2, Michael Cherney isolates a single photographic excerpt of the Da Ming Mountain range in Zhejiang Province—a narrow window of foliage and vertical rock, sharply rendered in photographic detail. Though modest in size, the inserted square anchors the image, revealing the artist’s signature method of “secondary memory”: a meditative process of uncovering visual fragments from within broader terrains. Surrounded by a sea of inked peaks and mist, the photographic segment reads like a memory held in the present—precise, framed, and enduring amid shifting forms.

Arnold Chang responds not by mirroring the photograph, but by rhythmically unfurling a sequence of mountains around it, as if coaxed from its visual energy. Working with traditional brush and ink, he composes a harmonious flow that echoes classical landscape scrolls, yet adapts them to the contours of photographic intervention. The result is a layered collaboration where form emerges through dialogue—between film grain and ink wash, density and dispersal, instant and eternity. In this quiet duet, Cherney and Chang dissolve medium-specific boundaries, rendering a contemporary shanshui that is both archival and alive.

在「大明山草稿 #2」中，秋麦以摄影为媒，从浙江省大明山的广阔风景中截取一帧微小却精确的片段。这方摄影局部经放大、印制于宣纸之上，如一扇通往山川记忆的窗。他称这一方法为“二次记忆”——一种对拍摄瞬间的再阅读与再构造。通过胶片显影后仔细筛选的画面，秋麦将那些原本容易被忽视的微观细节提炼出来，赋予其独立的形式与意味。这方影像在张洪笔下的墨色山峦间安静地伫立，既是现实的截面，也是记忆的锚点。

张洪并不直接复制照片中的风景，而是以此为核心，让山峦如旋律般自中心向外舒展。其笔墨源自传统山水，却在结构与节奏上作出当代回应。他有时延续典型的“笔触纹理”体系，有时发展出新的笔法应对摄影片段，令图像既保有古意，又富有变奏。这件作品是两位艺术家横跨媒介与文化的合奏——一位以胶片搜集山川的凝视，一位以毛笔铺陈山水的回响。二人共同构建出一个既属影像又属山水、既属现实又属再现的当代山水图式。