[{"img":"1606/01/e74ddb3c1c7130f9a4643da89317dac8.jpg","width":600,"height":483,"content":"","text":"我们重新“看见”一个稀松平常，举目皆是的物件；重新体会一个平淡无奇，过目则忘的空间，从而提出一个命题：世上存在的一切“物”皆是一个潜在主题。"},{"img":"1606/01/7c315ff8e5d0333184651d4cbae6f5ce.jpg","width":1280,"height":1085,"content":"","text":""},{"img":"1606/01/9a2b406e8ce23e9dbdaf3a628acb9db9.jpg","width":1280,"height":1443,"content":"","text":""},{"img":"1606/01/7794be817fbc3796bf940d76b182c7fc.jpg","width":600,"height":636,"content":"","text":""},{"img":"1606/01/46a6a9cb62bc37e994b1e609456571e0.jpg","width":600,"height":644,"content":"","text":""},{"img":"1606/01/fc8ac0e4566a3b2ca7ce86fb2ff53406.jpg","width":1214,"height":1530,"content":"","text":"她以抽象的极简细腻手法探寻视觉的本质，人们眼睛看到的与摄影机记录的物像差别。通过刻意呈现平凡物件在莫可名状环境里的偶然性画面，乌塔鼓励的是看官们将注意力放在“看”这个基本的动作上以及油然而生的“认知”这个过程。

早期作品“领域”系列"},{"img":"1605/26/cfa9445c4b1236e083287021c18a2362.jpg","width":1600,"height":1277,"content":"","text":""},{"img":"1605/26/d532bf64b11c3ab3805b0016790be9b5.jpg","width":1600,"height":1600,"content":"","text":""},{"img":"1605/26/e8175f5235a63042995f480a7b53fd14.jpg","width":1536,"height":1115,"content":"","text":""},{"img":"1605/26/955affcb43e3320aacfdc1789207d402.jpg","width":1143,"height":910,"content":"","text":""},{"img":"1605/26/1b62e167648031eaaa7fce6596931560.jpg","width":1195,"height":1024,"content":"","text":""},{"img":"1605/26/428ecd7eecaa389ea1bebc652c6d0084.jpg","width":640,"height":480,"content":"","text":"朦胧的画面让乌塔的作品既抽象也表象，几乎完全失焦的手法成为了她签名。这一系列作品试图试探的是摄影清晰的描述功能与模糊记忆的关联。

2011年“以光画线”系列："},{"img":"1605/26/50a47f34c58539c7997460f5f70421a0.jpg","width":2000,"height":1333,"content":"","text":""},{"img":"1605/26/6feb9a28c4993754bb87041544b05adb.jpg","width":1725,"height":770,"content":"","text":""},{"img":"1605/26/990574def8db3f1781740118be2eee21.jpg","width":630,"height":483,"content":"","text":""},{"img":"1606/01/1f3282ecefb13fa5804dcc6a1112c57f.jpg","width":804,"height":536,"content":"","text":""},{"img":"1606/01/0cf49b751858321c890c395a15d4f8ed.jpg","width":980,"height":663,"content":"","text":""},{"img":"1606/01/18e35f5c36303a1e9cbeca95ce609571.jpg","width":800,"height":748,"content":"","text":""},{"img":"1605/26/277696a662c1390ab19af9c735c52534.jpg","width":600,"height":337,"content":"","text":"2011年“白色背景下光的构成”系列"},{"img":"1605/26/dfe3e71165323496a29c812884531a8a.jpg","width":886,"height":865,"content":"","text":""},{"img":"1605/26/2267c80a9fc438bc930f9a10fcfedf0e.jpg","width":1024,"height":832,"content":"","text":""},{"img":"1605/26/a1bfb882d6cb3b30a871158ac826cb33.jpg","width":823,"height":832,"content":"","text":""},{"img":"1605/26/28dd2603c7423bed9557a1712fa781e8.jpg","width":1011,"height":936,"content":"","text":"以上两个系列的作品的原型均是乌塔家的窗台，窗帘，窗棂。她乐此不疲地刻画光线，唤起的是我们一霎那间对时光隧道的联想。同时，会心一笑的是其作品给我们带来的纯粹视觉愉悦感。

乌塔的摄影实践让人重新考虑摄影图像的传统功能和人们与之相联的期待，她将重点放在看官们与图像交流下产生的纯自我的感知体验。云里雾里都不要紧，况且就将乌塔的作品看作一面镜子，我们认真地去看，镜子里呈现给我们对不可名状事物的感知。"}]