我拍摄了类似毕加索、米罗和达利画作的干燥的西班牙农田

The series 'Sur/Real Lands' I made during the last couple of days of 2018 in the aridest regions of Spain.

2018年最后几天，我在西班牙最干旱的地区拍摄了《Sur/Real Lands》系列。

I traversed the hill filled countryside near Zaragoza and Toledo, where, along the backs of the mountains, dried out streams had become farmland. Not only were these parcels easy to reach, but the soil’s moisture and fertility produced by the stream’s deposits helped farmers in the dry summer season. That is why in the picture we see there are exclusively two crops: olive plantations, which can bear the great heat, and wheat, which is harvested at the start of summer before the drought sets in.

我穿过萨拉戈萨和托莱多附近布满小山的乡村，在那里，沿着山的背面，干涸的溪流变成了农田。这些小块土地不仅容易到达，而且河流沉积物所产生的土壤水分和肥力也在干旱的夏季帮助了农民。这就是为什么在这幅图中我们只看到两种作物:一种是能够承受高温的橄榄种植园，另一种是在干旱来临之前的夏初收获的小麦。

Surely, the local farmers are not aware of what abstract formations their work has formed since they are only visible from the sky. After long hours of research and looking at satellite maps I was able to choose the most interesting sites. Later, on location, I photographed them in the best possible light.

当然，当地的农民并不知道他们的作品形成了什么抽象的形态，因为它们只能从天上看到。经过长时间的研究和查看卫星地图，我能够选择最有趣的地点。后来，在拍摄现场，我用最好的光线给它们拍照。

The completed pieces are actually specially produced aerial photos that appear to be abstract paintings. They are landscapes with no horizon. The aerial perspective flattens the topography onto a plane, thus reinterpreting the landscape. Hills become patches and the slopes in between become lines, drawing map-like traces along the surface, which seems like a painter’s canvas. Time and space are suspended, and it is up to the beholder to decide what they are seeing – one-million-year-old geology, surrealism from the early twentieth century, mankind’s everyday struggle, or a prediction of future droughts.

完成的作品实际上是专门制作的航拍照片，看起来像是抽象画。它们是没有地平线的风景。航空透视将地形压平在平面上，从而重新解释景观。山丘变成了一块块的小块，中间的斜坡变成了一行行线条，在表面画出了像地图一样的痕迹，就像画家的画布。时间和空间被暂停，由观察者来决定他们看到的是什么——100万年的地质，20世纪早期的超现实主义，人类的日常斗争，或者对未来干旱的预测。

The creative process takes these photographic compositions in the direction of turn-of-the-century Cubism, Surrealism, or Abstract Expressionism. Strong pareidolic forms in some of the pictures recall the work of Picasso, Miró, and Dali. Other works have no focal point like Vasarely’s art, reminiscent of patchwork. Or we see endless, frame-defying patterns in the vein of Simon Hantai, the famous inventor of the Pliage technique.

创作过程将这些摄影作品带向世纪之交的立体主义、超现实主义或抽象表现主义的方向。在一些图片中强烈的空想形式让人想起毕加索、米罗和达利的作品。其他作品没有像凡撒里的艺术那样的焦点，让人联想到拼接。或者，我们可以在著名的上弦技巧发明者西蒙·汉泰(Simon Hantai)的身上看到无数反框架的图案。

If this is truly how nature is, then could it be that we do not create art, we just already live in a realm of art that we have simply not noticed?

如果这真的是自然的样子，那么我们是否没有创造艺术，我们只是生活在一个我们根本没有注意到的艺术领域?

My works are awarded the Grand Prize at the 37th Hungarian Press Photo Competition and Award of Excellence at the 76th POYI (Pictures of the Year International) in USA are visual oscillations between the realistic documentation of a dried-out environment and the extravagance of painting.

我的作品在第37届匈牙利新闻摄影大赛上获得了大奖，在第76届美国POYI(国际年度图片)上获得了优秀奖，这是一种视觉上的振荡，在干涸环境的现实记录和绘画的奢华之间。

The art pieces displayed at the Faur Gallery are actually composite pictures made up of multiple aerial photos. The largest ones contain as many as 100 megapixels. The unbelievably high resolution makes it possible to blow them up to human scale (1.5 meters or nearly 5 feet), so they may take their rightful place alongside paintings on gallery walls.

法尔画廊展出的艺术品实际上是由多张航拍照片合成而成的。其中最大的可达1亿像素。高得令人难以置信的分辨率使它们有可能被放大到人的尺寸(1.5米或近5英尺)，这样它们就可以在画廊的墙壁上与画作平起平坐了。

The 'Sur/Real Lands' series is one part of the Water. It is a chapter that uses aesthetic means to present and to document faithfully the scale of Humanity’s struggle when faced with a water shortage, as well as to demonstrate the water crisis that is now at Europe’s doorstep.

《Sur/Real Lands》系列是《The Water.Shapes》的一部分。这一章用美学的方法来呈现和忠实地记录了人类在面临缺水的情况下所经历的挣扎，同时也展示了现在欧洲所面临的水危机

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图片来源：Milan Radisics