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人类活动已经成为改变气候和自然世界的首要力量，通过完全抹去人类在摄影作品中的形象，摄影师巧妙的质疑了人类虚荣、自恋的自我素质。摄影师让人类的形象脱离出画面，光线、色彩、空间占据了全部的尺幅，吸引观赏者的意识来到另外一个层次。在这个系列的适应作品中，摄影师创造了一个不可度量的空白空间，一个逃避自我的可能，一个纯粹的凝固的时刻。

By removing our reflection from the picture entirely, Fredericks subtly questions the narcissistic qualities of the human condition in the age of the Anthropocene, wherein human activity has become the overriding force on climate and the natural world. He casts our image adrift, so that we might be consumed by the phenomena of light, colour and space on a visceral level, engaging another stratum of consciousness that echoes the artist’s own experience of living in solitude on the lake. In Vanity, Fredericks’ meditations on the immeasurable and unknown void that encompasses us offer a space in which to escape ourselves, and to pause in a moment of pure transcendence.

“站在丝绸一般的水中，只有无边的地平线包围着我，整个人都感觉到释放，任凭自我消散在光影和空间中。” – Murray Fredericks

“Standing in the silken water, surrounded only by a boundless horizon, I sense a release, a surrendering as the self dissolves into the light and space.” – Murray Fredericks

摄影师 Murray Fredericks 带着自行车、帐篷和相机重新考察了南澳大利亚广阔的盐湖，继续坚持不懈地通过摄影拍摄遥远的土地和天空，将这种压倒性的空旷和强烈的情感共鸣定格在画面里。摄影师独自在盐湖上生活，将所有的精神上的感受都封装在影像中，这种沉浸式的影像持续影响了全球十多年的时间。

Revisiting South Australia’s vast salt lake equipped with a bike, tent and camera, Murray Fredericks continues his intrepid pursuit of capturing through photography the overwhelming emptiness and powerful emotional resonance of remote land and sky. Camping alone for weeks at a time, Fredericks’ spiritual and mental encounters are encapsulated in his immersive images which have mesmerised audiences across the globe for more than a decade.

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