图：杜宝仙 文：安光系 执行策展人：燕苍娜
女摄影师杜宝仙把镜头对准自己，让自己成为镜头下的拍摄对象，把自拍像变成了摄影作品。
她给自己了一个正式的拍摄：用专业灯光、黑背景作为专业设备，让自己严肃地站在相机前直视镜头，让瞬间成为永恒。每次拍摄，她都把更新一套自己的衣服，以同样面孔但不同服装的形象呈现在我们面前。她把穿着相似服装的自拍像组合在一起，形成一幅摄影长卷。
由300多张个人肖像最终形成的30多张作品为我们带来了一道引人注目的肖像画和服饰景观。她的作品，既是对自己的审视与观看，也是自己的一次独立宣言，对我们梳理当代都市下平民百姓的服装简史有着积极的意义。
不同于当下的快照自拍，杜宝仙在对自己进行拍摄时，态度是严肃认真的。她以这样的态度表明：在对待自身形象上，拍摄不是儿戏，不是娱乐，而是一件实实在在的纪录行为和表达方式。这里的影像，不是为男权社会而设定，而是站在更高更远的视角下对女性本身的一场凝视与观看。
通过自拍，摄影师给我们展现了一个普通百姓的服装简史。这些服装，能让我们看到一个时代的时尚，对未来的文化学者研究当下中国百姓的服装史、个人史、家庭史、生活史、经济史和社会史等提供影像样本。与此同时，这也是一部关于中国百姓生活的调查报告。
杜宝仙把自己置身于画面的中心，坦诚地看着我们，给我们展现了一道关于“我”的景观。这既是女性形象的一次自我构建，也是女性地位自我确立的一次宣言。她既审视自我，也凝望未来。她既站在普通百姓的角度自下而上书写历史，也给我们展现了中国当下的服装文化。
她既关爱自己，也提醒别人。这是一次非同寻常的观看与表达，她在用自己的影像与自己对话、与受众对话。
她还把自己的形象留给未来，让自己与不同时代的人们进行交流。她用摄影的方式，给自己书写了一部历史。她把这一张张照片的解读，把对这个时代的解读，交给了观看的我们。
( I )
PICTURE: BAOXIAN DU
ARTICLE: GUANGXI AN
EXECUTIVE PLANNER: CANGNA YAN
Female photographer Du Baoxian pointed the camera at herself,Let herself be the subject under the camera,turn the self-portrait into a photographic work.
She gave herself a formal shot using professional lighting and black background as professional equipment,leting herself stand in front of the camera and look directly at the camera,make the moment eternal.
Every time she shoots, she updates a set of her own clothes,presented to us with the image of the same face but different costumes.She combined her selfies in similar costumes to form a long scroll.
The 300 works finally formed from more than 30 personal portraits brought us an eye-catching landscape of portraits and costumes.Her work is both an examination and observation of herself,is also a declaration
of independence of her own,it is of positive significance for us to comb the brief history of common people’s clothing in contemporary cities.
Unlike the current snapshot selfies, Du Baoxian takes a serious attitude when shooting himself.She expressed with this attitude: in dealing with her own image, shooting is not a child’s play, not entertainment,
but a real record of behavior and expression.The image here is not set for a patriarchal society, but a gaze and observation of women themselves from a higher and farther perspective.
Through selfies, the photographer showed us a brief history of ordinary people’s clothing. These clothes allow us to see the fashion of an era, and provide image samples for future cultural scholars to study
the history of Chinese people’s clothing, personal history, family history, life history, economic history, and social history.At the same time, this is also a survey report on the lives of Chinese people.
Baoxian Du put himself in the center of the picture, looked at us frankly, and showed us a landscape of “me”. This is a self-construction of the female image,it is also a declaration of self-establishment of women’s status.
She examines herself as well as the future. She not only writes history from the perspective of ordinary people, but also shows us the current Chinese clothing culture. She cares for herself and reminds others. This is an
extraordinary viewing and expression. She is using her own images to talk to herself and the audience.
She also left her image to the future, allowing herself to communicate with people from different eras. She used photography to write a history for herself. She gave the interpretation of these pictures and the interpretation
of this era to us who watched them.