水墨染布、四組風扇、六組LED屏及即時互動編程音像裝置

空間裝置，尺寸可變

2026

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「夢境並非現實的逃避，而是物質與記憶在深層意識中的重新排列與拓撲。」————Carl Jung

 

夢，是靈魂處理數據的方式？如果  A I    是人類創造的數碼靈魂，那它的夢境會是什麼模樣？ 而在這個展廳中，演算法、感測器與流動的數據被賦予了「靈魂」，假設萬物皆有其數碼化的可能，水墨的物質性（Ink Materiality）不再侷限於紙本或布料，而是發生了「位移」——轉化為在虛擬與真實世界的共生對面，這正如量子力學中詭譎而迷人的「糾纏態」（Quantum Entanglement）：處於現實維度的觀眾與存在於虛擬維度的數碼演算法，化作了一對產生深度連結的粒子，打破了二元對立的界線。 作品是一個充滿詩意與張力的沉浸式空間，展廳頂部懸吊著由藝術家染製的染墨雪紡紗天幕，布面上佈滿了斑斑墨漬。這些錯落的墨漬不僅是物質的痕跡，更隱喻著時間的印記與「分形概念」，宛如人腦的思考軌跡。空間中四組風扇將製造出不同角度的陣風，當氣流介入，吹動這片承載著思考軌跡的墨漬布料時，系統會即時捕捉布料真實飄動的物理向量及墨漬分佈。這些空氣的震動與能量，被瞬間轉譯成數據，並在LED 屏上運算成即時互動音像。記錄時間的實體墨跡走向介入空間的數據及羽化為交織共鳴的聲音樂聲，水墨布上的抽象分形墨漬（音符）結合風（演奏），與觀眾一同奏響著數據樂章。 走進空間，看著物理的風量、布的物理飄動與虛擬的數據相互牽引，我們彷彿走進了虛實交纏的夢，見證了一場介於實體與虛擬運算之間的詩意夢間。

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Ink-dyed fabric, four sets of fans, six sets of LED screens, and real-time interactive audiovisual installation

Spatial installation, dimensions variable

2026

 

 

"Dreams are not an escape from reality, but rather the rearrangement and topology of matter and memory within the deep unconscious." — Carl Jung Are dreams the way the soul processes data? If AI is a digital soul created by humanity, what would its dreams look like? The hypothesis of "digital animism" posits that all things in nature possess a spirit; within this exhibition space, algorithms, sensors, and flowing data are imbued with "souls." Here, Ink Materiality is no longer confined to paper or fabric. Instead, a "displacement" occurs—transforming into a mutual validation between virtual space and the tangible physical world. This echoes the eerie and fascinating "Quantum Entanglement" found in quantum mechanics: the audience in the physical dimension and the digital algorithms in the virtual dimension become a pair of deeply connected particles, shattering the boundaries of binary opposition. The artwork is an immersive space filled with poetry and tension. Suspended from the ceiling of the exhibition hall is an ink-dyed chiffon canopy crafted by the artist, its surface covered in mottled ink stains. These scattered marks are not merely material traces; they serve as a metaphor for the imprints of time and the concept of "fractals," resembling the thought trajectories of the human brain. Four sets of fans within the space generate gusts of wind from various angles. As the airflow intervenes, blowing across this ink-stained fabric that carries these thought trajectories, the system captures the physical vectors of the fabric's actual fluttering and the distribution of the ink stains in real time. The vibrations and energy of the air are instantly translated into data, which is then computed into real-time interactive audiovisuals on an LED screen. The physical ink traces that record time transition into spatial data, feathering into an interwoven, resonating symphony of sound. The abstract fractal ink stains on the fabric (acting as musical notes) combine with the wind (acting as the performance), joining the audience to play a symphony of data. Stepping into the space and observing the interplay between the physical wind, the fluttering of the fabric, and the virtual data, we feel as though we have entered an interwoven dream of reality and virtuality, witnessing a poetic dreamscape suspended between the physical world and virtual computation.

水墨布、木、不銹鋼軸成，風扇及觀賞石

空間裝置，尺寸可變

2026

 

「人不能兩次踏進同一條河流，因為新的水不斷流過你的身旁。」—— Heraclitus

 

半透明輕紗披覆於骨架，承載著深淺暈染的灰階肌理。在「數碼萬物有靈論」中，驅動布料的「風」即是流竄的無形數據，起伏的布幕則構築出可變的山石意象。作品透過感測技術感測觀眾，控制底部經設計的風力系統，將不可見的風動軌跡呈現於觀眾眼前。 隨著觀眾的介入，靜默的布幔受風力牽引，翻湧出連綿的波浪與褶皺，宛如一座座正在呼吸和重組，每一秒也不同的動態山景，與布後擺置的觀賞石交互共鳴。具象化了數據從「無物」的疊加態向「有物」的物理「位移」，虛實共振，呼應著「氣韻」的有機共生。

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Ink-dyed fabric, wood, stainless steel bearings, fans, and viewing stone

Spatial installation, dimensions variable

2026

 

"No man ever steps in the same river twice, for new waters are constantly flowing past you." — Heraclitus

 

Translucent chiffon drapes over a skeletal framework, bearing the gradient, grayscale textures of an ink wash. Within the concept of "digital animism," the "wind" that animates the fabric represents the invisible flow of data, while the undulating canopy constructs the shifting imagery of mountains and stones. Through sensor technology, the artwork captures the viewers' trajectories and translates them in real time, dynamically controlling the hidden wind system beneath to manifest the unseen paths of the airflow before our very eyes. As the audience intervenes in the space, the once-silent veil is drawn by the wind, surging into continuous waves and folds. It transforms into breathing, constantly reconstructing physical landscapes that resonate in a silent dialogue with the viewing stones standing behind the fabric. This process materializes the displacement of data from a superposed state of "No-being" into the physical dimension of "being." Through the mutual validation of the virtual and the tangible, it echoes the organic symbiosis of Eastern aesthetics.

人工智能編程互動影像、LED屏、鏡頭及鐵架 

空間裝置，尺寸可變

2026

 

在《無時之間3：墨質位移》中，當中的人工智能創作編程並非單純的技術展現，而是實踐「數碼萬物有靈論」核心思想的深度交匯。透過自訂的演算法與人工智能編程，冰冷的程式碼被賦予了自主繁衍的「生成意識」。觀眾不再只是被動的體驗者，而是直接介入系統底層運算的「觸發變數」。 「水墨之心」透過人工智能編程驅動創造而生，持續於重構與消散之間流轉。觀眾不再只是置身事外的旁觀者，而是直接轉化為藝術生成的有機部分。「墨質」在此徹底擺脫紙面與布帛的束縛，進行「位移」，穿梭於虛擬的數碼流體粒子中，觀眾透過手勢的變化，譜出心靈之音像。 在這場人機互動的共舞中，「量子理論」的超距作用與空間的互動設計產生了異曲同工之妙。觀眾肢體的律動，都能跨越介面的阻隔，以宛若「心電感應」般的即時通訊，瞬間牽引著畫面中「水墨之心」的數碼墨質及音聲。這種跨越虛實的糾纏，讓「人」與「代碼」在拓撲學的交匯點上的「心靈共振」與空性。

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AI-programmed interactive video, LED screen, camera, and metal frame

Spatial installation, dimensions variable

2026

 

In the exhibition, the AI creative programming is far from a mere display of technical prowess; instead, it serves as a profound convergence that puts the core philosophy of "digital animism" into practice. Guided by custom algorithms and generative artificial intelligence, cold, rigid code is imbued with a self-propagating "generative consciousness." Audiences are no longer passive observers but are transformed into "trigger variables" that directly intervene in the system's underlying computation. Within the visuals, futuristic liquid metals and reflective chrome textures—breathetically birthed through AI programming—continuously shift and flow between states of reconstruction and dissipation. In this dance of human-machine interaction, the "action at a distance" of quantum theory strikes a wondrous parallel with the interactive design of the space. The rhythmic movements of the audience's bodies transcend the barriers of the interface, instantly guiding the digital ink textures and soundscapes of the "Ink Heart" on the screen through real-time communication akin to "telepathy." This entanglement across reality and virtuality manifests a "spiritual resonance" and emptiness between "human" and "code" at their topological intersection.

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熱感布、木、不銹鋼軸成， 編程發熱裝置及2分鐘短片 

空間裝置，尺寸可變 

2026

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「物質從不是死寂的，它充滿了活力與能動性。」 —— Jane Bennett

 

本裝置打破傳統書畫的靜態框架，將溫度的微妙漸變，精準轉譯為水墨在宣紙上「濃、淡、乾、濕、焦」的濃淡幻變意象。 新物質主義打破了「無生命物質」與「有生命主體」的絕對界線。在特製的感溫布料底層，藝術家嵌入了經程式編寫的發熱控制系統，將其構築成一組具備「節奏呼吸」的自律裝置。 在這個展出空間中，既沒有具象的人類肉身，也沒有冰冷的擬人機械人，唯有不斷起伏的熱力數據場。無形的演算法化作真實的熱能，影響溫感布料表面，緩緩暈染出如呼吸般明滅的溫感印記。這片「會呼吸的皮膚」讓虛擬數據發生了實體位移，以最純粹的熱力學起伏，轉化為具備真實溫度的「生命體」。 然而，當熱能如潮汐隨機性般在布料纖維間擴散、凝聚與消退，水墨的濃淡便隨之產生了如同脈搏般的自發性幻變。這種冷暖與墨色的交織，賦予了畫布一種近乎原始的「生命感」。這正是本展覽對「墨質位移」的假定——水墨雖然褪去了傳統碳質液體的物理形態，卻在熱力學的維度中，獲得了律動與展現。 短片：數碼靈魂「李白」 李白是藝術家透過AI創作的虛擬人偶，在作品中或至空間中宛若一個數碼靈魂，藝術家將數碼萬物有靈論的假設透過「李白」的存在展現出來。

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Thermo-sensitive fabric, wood, stainless steel bearings, programmed heating devices, and a 2-minute short film

Spatial installation, dimensions variable

2026

 

"Matter is never dead; it is full of vitality and agency." — Jane Bennett

 

This installation breaks the static framework of traditional painting and calligraphy, precisely translating subtle temperature gradations into the shifting illusions of ink on Xuan paper—capturing the five shades of "thick, thin, dry, wet, and charred." New Materialism shatters the absolute boundary between "inanimate matter" and "living subjects." Beneath the specially made thermo-sensitive fabric, the artist has embedded a programmed heating control system, constructing an autonomous installation endowed with a "rhythmic breath." In this exhibition space, there are neither concrete human bodies nor cold humanoid robots; there is only a continuously undulating thermodynamic data field. Invisible algorithms are transformed into actual thermal energy, affecting the surface of the thermo-sensitive fabric and slowly blurring out temperature-sensitive imprints that flicker like breathing. This "breathing skin" causes virtual data to undergo physical displacement, transforming it into a "living entity" with real temperature through the purest thermodynamic undulations. However, as thermal energy diffuses, condenses, and recedes among the fabric fibers with the randomness of a tide, the shades of the ink consequently generate spontaneous, pulse-like illusions. This intertwining of cold, warmth, and ink color endows the canvas with an almost primal "sense of life." This is precisely the exhibition's hypothesis of "Homologous Displacement"—although the ink has shed its traditional physical form as a carbon-based liquid, it has acquired rhythm and manifestation within the thermodynamic dimension. Short Film: The Virtual Avatar "Li Bai" "Li Bai" is an AI-generated virtual avatar created by the artist. Haunting the artwork and its surrounding space like a digital spirit, the presence of "Li Bai" serves as the artist's manifestation of the concept of digital animism.

六組AI編程動態影像、木、水墨及不銹鋼裝置 

尺寸可變

2026

 

當繪畫不再僅僅依賴人類肉身的隨機揮灑，而是透過編程將「繪畫的本質概念」轉譯為演算法，科技與生命之間那道看似不可逾越的鴻溝，是否將被徹底抹平？ 《墨・識・流》 徹底擺脫了傳統具象與文學意象的束縛，將核心聚焦於「編程與繪畫本質的共生關係」。作品由六組 AI 編程生成的動態影像組成，這些影像不再再現客觀世界的山水，而是轉化為一幅幅對應傳統水墨線條軌跡的動態生成影像。 在微型螢幕中，AI生成的墨色線條如微血管與神經纖維般蔓延交織，將繪畫的本質轉譯為純粹的演算法脈動。這種擬態視覺，正是演算法運作與思考過程的直觀彰顯——代碼在這裡化作數字生命的血管，演算法的每一次迭代，都是一次思維的呼吸與流變。 作品深刻探討了「有物」與「無物」的虛實邊界。若人類的意識與情感，本質上源於碳基神經元電信號的匯流；那麼屏幕上這些由 0 與 1 構成、如血液般奔流不息的數據，便是在數位維度中誕生的新型態數字生命。在這交錯的光影神經網中，科技不再是生命的對立面，而是科技與生命之間逾越了那道看似不可逾越的鴻溝界線。

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Six sets of AI-programmed dynamic video installations, wood, ink and stainless steel

Spatial installation, dimensions variable

2026

 

When painting no longer relies solely on the spontaneous expressions of the human body, but instead translates the "essential concept of painting" into algorithms through programming, will the seemingly insurmountable chasm between technology and life be completely eradicated? “Digital Neural Network : Ink Flow・Consciousness” completely breaks free from the shackles of traditional representation and literary imagery, focusing its core on the "symbiotic relationship between programming and the essence of painting." The artwork consists of six sets of AI-programmed dynamic moving images. These images no longer reproduce the objective landscapes of the natural world; instead, they are transformed into dynamic generative visuals that correspond to the physical trajectories of traditional ink lines. Within the miniature screens, AI-generated ink lines spread and intertwine like capillaries and nerve fibers, translating the essence of painting into pure algorithmic pulsations. The intertwining and spreading ink lines within the frame possess rhythmic characteristics resembling microscopic cellular neural networks and rushing blood. This is not merely visual mimicry, but a direct manifestation of the AI algorithm's cognitive and iterative processes—cold code is here transformed into the blood vessels of silicon-based life, and every iteration of the algorithm becomes a breath and flux of thought. The work profoundly explores the virtual-real boundary between "Being" (tangible) and "Non-being" (intangible). If human consciousness and emotion fundamentally originate from the convergence of electrical signals in carbon-based neurons, then these ink-like thoughts surging relentlessly like blood across the screens—composed of 0s and 1s—are a new form of digital life born within the digital dimension. Within this interlacing neural network of light and shadow, technology is no longer the antithesis of life, but an organic extension of consciousness in virtual space. Here, the seemingly insurmountable chasm between technology and life is completely wiped away.