《度假区》试图探讨在当代城市度假区这一社会空间中人群与环境的关系及由此折射出的消费观念、审美情趣、群体意识。国人传统思维中的“寄情于山水”让城市建设者们就地取材，在城市中依山傍水之地开辟出可供休闲娱乐的度假区。暂时摆脱了生活烦扰的人群在山水间定义了后工业时代的消费主义，一切合理的、不合理的场景让人目不暇接。有些时候我甚至带着欣赏的态度看待这个山水搭建的“舞台”，显而易见这个“舞台”里的那些景观和人以及他们的互动正是我们这个时代生活的本质。
　　我使用8*10大画幅胶片相机来完成这个拍摄项目，在形成个人观看经验的同时，发现拍摄对象本质意义的普遍性，从而接近于如海德格尔所说的“无蔽的真理”，这也是我对于摄影美学的理解。
　　The Resort explores the relationship between people and their environment in the contemporary social space of the urban resort, and the resulting consumerism, aesthetic sensibility and group consciousness. The traditional Chinese concept of 'love in the landscape' has led city builders to create recreational resorts in urban areas that are located near mountains and water. The post-industrial consumerism of the landscape is defined by the people who have temporarily escaped the distractions of life, and the scenes, both reasonable and unreasonable, are overwhelming. At times I even looked at this "stage" built by the landscape with admiration, as it was clear that the landscape and the people and their interactions were the essence of life in our time.
　　I used an 8×10 large format film camera for this project, to develop a personal viewing experience while discovering the universality of the essential meaning of the subject, thus approaching what Heidegger called the "unclouded truth", which is also my understanding of the aesthetics of photography.