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V/R 项链 V/R Necklace
3D 打印树脂，丙烯喷漆 3D printed resin, acrylic spray paint
100 * 100 * 10 cm
2022
Details
花窗系列 1 号—数据眼花窗 Lattice window Series No.1 – Data Eye lattice window
3D 打印尼龙，丙烯，2.0 英寸显示器，循环影像
3D printed nylon, acrylic, 2.0" display, looped image
35 * 35 * 5 cm，安装尺寸可变
Main body size 35 * 35 * 5 cm, variable mounting size
2020
Details
Q: 在软件中建模，然后通过3D打印输出，与纯手工制作一个雕塑，对你来说最大的差别是什么？
A: 手工与机器打印都会产生其各自无法被替代的痕迹，另外3D打印生产流程中产出更少的浪费。
Q: What is the most significant difference for you between modeling a sculpture in software and then outputting it via 3D printing versus making a sculpture purely by hand?
A: Both hand and machine printing produce their own irreplaceable traces, plus the 3D printing production process generates less waste.
Previous Works
wifi花与旗 wifi flower and flag
全息投影机，pvc，滑板，人造皮草
Holographic projector, pvc, skateboard, faux fur
80 * 80 * 120 cm
2020
Q: 为什么会将传统建筑中的镂空窗户与数字美学链接起来？你用何种角度看待历史，以及美学与材料上的混杂性？
A: 镂空窗在园林中既是媒介性的辅助结构，又作为景观本身的载体，有点像半透明的存在或者是实体滤镜。这样的结构带来的复合效果很适合成为数字美学的物质载体。我很喜欢逛一些小公园、小院子之类的。其中存在很多有趣的环境结构，在我的视角上是具身性认知经验的物质结晶，当下也很需要它们。历史是对人类遗产碎片的破译和解读。我更感兴趣的是与碎片本身建立感知，希望可以用某种方式与我的生活嫁接在一起。而这种嫁接也绝不止发生在艺术领域，是非常本能和常态的。不同材料和美学混合所带来的穿越感正是来自于渗透于它们各自身上的混杂属性。
Q: Why did you link the hollowed-out windows of traditional architecture with a digital aesthetic? What perspective do you take on the history and the aesthetic and material hybridity?
A: The skeleton window is used in the garden as a mediating secondary structure and as a vehicle for the landscape, somewhat like a translucent presence or a solid filter. The multiple effects of such a structure lend themselves nicely to being a material vehicle for digital aesthetics. I like to wander around small parks, yards, and things like that. There are many interesting environmental structures in them, which in my perspective, are the material crystallization of embodied cognitive experiences, and they are needed in the present. History is the deciphering and interpreting of fragments of human heritage. I am more interested in building a perception with the fragments themselves, hoping they can somehow be integrated into my life. Moreover, this connection is by no means only in the field of art; it is very instinctive and constant. The sense of passage from mixing different materials and aesthetics comes from the hybrid properties that permeate each.
遗迹花园（数码遗迹） Garden of legacy (digital remains)
灯光装置 Lighting Installation
1000 * 1000 * 275 cm
2021
Q: 在你的作品中能看到「能量-信号」以一种可感知的方式流动起来，这对应了维持我们当下的数字生活但却不可见的那个维度，谈谈你是如何构建它们的？
A: 能量在我看来是更广泛的存在，在所有维度之间流动，所以在任何维度都可以感受到，甚至可以被当作游走于其中的线索。
Q: In your work, one can see the 'energy-signal' flowing perceptibly, which corresponds to the dimension that sustains our digital life but is not visible. Please tell us how you construct them.
A: Energy, to me, is a broader presence, flowing between all dimensions so that it can be felt in any dimension. It can even be used as a clue to wander through it.
养生工程 Regimen engineering
多件作品综合装置 Multi-piece composite installation
尺寸可变 Dimensions Variable
2019
Q: 数字化与自然这是一组互相对立的概念吗？他们在你的作品中分别扮演什么样的角色？
A: “通过模拟已知自然的过程来研究自然本身”可能更接近于数字世界创立的初衷。在之后的发展过程中却越来越多的被解读出对立的感觉，在我的世界中它们互相渗透对比和矫正可能是对这种现象的再现。
Q: Is digital and natural an opposing set of concepts? What role do they each play in your work?
A: The idea of "examining nature by simulating the processes of known nature" is probably closer to the original intention of creating the digital world. In its development, it has been increasingly interpreted as an opposition. In my world, they interpenetrate and contrast and correct each other as possible reproduction of this phenomenon.
metànature 草皮碎片 metànature turf fragments
视频装置，定制LED显示屏，亚克力，混凝土，LED风扇
Video Installation, Custom LED Display, Acrylic, Concrete, LED Fan
40 * 40 * 40 cm
2021
Q: 你的作品有时呈现出一种废弃、疲惫却又充满诱惑性的外观，这指向了什么？你对后人类语境下普遍的生存现实抱有何种态度？
A: 我的思维方式其实并不会指向某种特定的态度作为创作的初衷。我只是在接收和整合一些现象，在这个过程中的各方面因素会不可避免的渗透在其中。所谓的后人类语境被讨论到现在几乎形成了一种类似寓言般存在的压迫感，过于强势地限制了人类对未来的想象。
Q: Your work sometimes takes on a discarded, weary yet seductive appearance; what does this point to? What is your attitude to the prevailing reality of existence in a post-human context?
A: My way of thinking does not point to a particular attitude as a starting point for my work. I am just receiving and integrating some phenomena in which various aspects of the process inevitably permeate. The so-called post-human context has been discussed to the point where it almost creates a sense of oppression that exists like an allegory, restricting the human imagination of the future almost too strongly.
WEBhood JAM
多件作品组合装置 Multi-piece composite installation
尺寸可变 Dimensions Variable
2020
Details
Q: 数字、亚文化、酸性视觉；金属、树脂、液晶屏幕，你如何看待视觉艺术中的潮流性？你是以什么样的姿态使用这些元素的？
A: 我以一个被污染者并努力偏离漩涡中心的姿态：我们这一代人在商业营销的大潮浸染中成长，这些元素都是针对人类机体的漏洞被设计出来，现在被更广泛的个体拿来互相攻击。出现在我作品中的屏幕大多不是为了呈现线性叙事而存在，更多是为了模仿在运转中的动态效果，有点类似于器官。
Q: Digital, subculture, acidic visuals; metal, resin, LCD screens, how do you see the trendiness in the visual arts? In what way do you use these elements?
A: I take the stance of a contaminated person trying to stray from the center of the vortex: my generation grew up immersed in the tide of commercial marketing, elements that were designed to address the vulnerabilities of the human organism and are now used by a wider range of individuals to attack each other.The screens in my work primarily exist less to present a linear narrative and more to imitate the dynamic effects of being in motion, somewhat similar to organs.
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