yingxiao&zhoutian



yingxiao&zhoutian is an interdisciplinary spatial practice working across architecture, exhibition, installation, film, publication and visual culture.

ongoing spatial and cinematic research archive

beijing / new york


index


个人作品
摄影书
12x17.5cm, 104页
硬皮，线圈装订
2026年3月



Individual Work
Photobook
12x17.5cm, 104pp
hardcover, spiral bound
Mar. 2026


红花配绿叶
Red Flowers with Green Leaves




































“红花配绿叶”是摄影项目母题“Colonized Greens（被殖民的绿地）”下的一个子主题。该母题关注植物在⼈类社会环境中的多重生存状态——它们被繁育、采集、管理、分配、改造、模拟与抽象，同时它们对人类的干预产生的可能回应与抵抗。

“Red Flowers with Green Leaves” is a sub-project within my ongoing research Colonized Greens, which examines the multiple conditions under which plants exist within human environments—subject to cultivation, collection, management, redistribution, modification, simulation, and abstraction, while also potentially responding to human intervention through subtle forms of resistance.

​“红花配绿叶”是自然界中一种常见的视觉关系，人类社会通过对其符号化、客体化，逐渐将其变为一种经典文化叙事。作为一个植物的标志性形象，它被运用在各类功能性和装饰性景观中；作为一种视觉搭配规则，它被应用在各种人造物的设计中；作为一个不断被阐释的符号，它进一步进入人类的精神领域。在这一过程中，植物的自然属性不再重要，它可以被模仿、被篡改、被抽象，只要其形象保持可识别与可持续，它便成为“合格”的存在。


Originally a common visual relation in nature, “red flowers with green leaves” has been progressively symbolized and objectified, evolving into a canonical cultural narrative. As a representative image of plants, it is applied in functional and decorative landscapes; as a visual principle, it is embedded in the design of artificial objects; and as a continuously interpreted sign, it extends into the human spiritual domain. In this process, botanical specificity becomes secondary: plants can be imitated, altered, or abstracted, as long as their image remains legible and durable.








全书分为五个部分：第一部分从真实植物、仿真植物到抽象物件，呈现红绿搭配在不同语境中的多重定义；第二部分探讨“红花绿叶”被客体化的过程，即其被坍缩为符号并不断被赋予意义；第三部分呈现其在被客体化后的不同生存状态，以及可被解读为“反抗”的瞬间；第四部分关注红绿搭配在日常文本系统中的运作方式，从标识、告示到警示，再到承载祈愿功能的平面物料；第五部分则进入仪式与精神场景，植物在祈祷与纪念语境中被赋予神性而被摆上神坛，但仍是作为构建祭祀场景的工具性元素而存在。

The book is organized through a loose progression rather than a fixed narrative, bringing multiple conditions of use and interpretation into relation. Real plants, replicas, and abstractions are situated within a shared field of discussion, where the red–green relation appears as a recurring structure, at once stabilized and reassigned meaning. Its persistence includes moments that may be read as resistance, yet remain within the same order. It operates within textual systems and extends into ritual and spiritual contexts, where symbolic attribution does not suspend its instrumental role.
The material construction extends this system. A red flocked cover evokes a soft, warm tactile surface associated with petals, while three interlocking green spiral bindings form a structure reminiscent of stems and leaves. The title is absent, allowing color and material to function as the primary articulation of the work.
Inside, images are arranged in facing pairs, where meaning emerges through juxtaposition rather than sequence alone. Variations in scale produce a layered collage structure, generating shifting correspondences and tensions across spreads. Fragmented texts appear intermittently, maintaining a reduced narrative presence and a loose progression.

Text is displaced onto narrow red inserts placed between spreads, limiting authorial guidance while maintaining interpretive openness. The spiral binding supports a flexible reading rhythm. Red inserts, together with printed versos and spiral binding, extend the red–green relation as a continuous visual system throughout the book.








Through the interplay of image, text, and reading, the book reflects the gradual displacement of plants from their natural conditions into systems of organization. The structure of the book reproduces this operation.




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