珞白｜LUO BAI

Illustration｜插画

珞白的系列插画——《逃离人群》、《局外人》与《焦虑之浪》，源自绘本《红猴子的孤岛》（2023）。他以“孤岛”与“红猴子”为核心意象，将疏离、焦虑以及寻找内在平衡的无声挣扎具象化。

在《逃离人群》中，个体从压倒性的环境中抽离，象征着在过度刺激的世界里对空间、修复与自我保护的渴求。《局外人》则捕捉了那种身处闹市却无处归依的断裂感，强调了疏离状态下对联结的徒劳追寻。而在《焦虑的海浪》里，翻涌的巨浪成为了压力的化身，描绘出那种周而复始、不断冲刷个体的心理动荡。

这些作品综合运用了水彩、彩色铅笔、炭笔与单版拓印，揭示了社交焦虑者隐藏在日常生活表象下的脆弱瞬间。这不仅是对个体状态的细致临摹，更是对当代情感经验的一次静默回响。

Luo Bai’s illustrated series—Escaping the Crowd, The Outsider, and The Waves of Anxiety—is developed from the picture book The Island of the Red Monkey (2023). Centred on the recurring motifs of the “island” and the “red monkey,” the works render visible states of alienation, anxiety, and the silent negotiation involved in seeking inner equilibrium.

In Escaping the Crowd, the individual withdraws from an overwhelming environment, suggesting a desire for space, repair, and self-preservation within a condition of sensory excess. The Outsider captures a sense of dislocation—being situated within density yet without belonging—foregrounding the futility of seeking connection from within a state of estrangement. In The Waves of Anxiety, surging tides operate as a metaphor for pressure, articulating a cyclical psychological turbulence that persistently engulfs the individual.

Executed through a combination of watercolour, coloured pencil, charcoal, and monoprint techniques, the series reveals moments of vulnerability that remain obscured beneath the surface of everyday life for those experiencing social anxiety. These works function not only as attentive renderings of individual conditions, but also as a quiet resonance with broader contemporary affective experience.

陈一致｜YIZHI CHEN

AI Generate Video｜AI生成影像

陈一致的作品以“场域-记忆”的心理错位为核心。他将废弃工厂的残破景象转化为一种异化的视觉景观，所有元素源于现实，却在镜头中剥离出一种疏离而荒诞的底色。

这段影像并非单纯的实地记录，而是在描绘“时空的坍塌与重组”。叙事始于主角在废墟中发现的一面粉色亮面镜子，以此为契机，她开启了一场穿梭于碎片化时空的漂流。艺术家的意识交织着场域的过去与当下，通过实景拍摄与 AI 生成技术的缝合，将内在的情感景观投射到物理空间之上，构建出一个邀请观者步入的异次元。

在《静默的钟摆》中，作品呈现出一种虚实共生的裂痕。同步展出的装置通过正负空间的转换，开启了镜内与镜外的空间对话。悬挂的镜面如钟摆般晃动，每一度摆动都闪现出异空间的景象，它不仅是叙事的引子，更像是一个静默的隐喻，提示着链接不同时空的虫洞正隐秘地存在于裂缝之中。

Chen Yizhi’s practice centres on a psychological dislocation between site and memory. He transforms the fragmented remains of abandoned factories into estranged visual landscapes—composed entirely of real elements, yet stripped, through the lens, into a condition marked by distance and quiet absurdity.

The moving image does not function as documentary record, but as an exploration of the collapse and reconfiguration of time and space. The narrative begins with the protagonist’s discovery of a glossy pink mirror within the ruins, which becomes a threshold for a drifting passage across fragmented temporalities. The artist’s subjectivity interweaves past and present within the site, employing a synthesis of live-action footage and AI-generated imagery to project an interior emotional landscape onto physical space, constructing an alternative dimension that invites the viewer’s entry.

In Silent Pendulum, the work articulates a fissure in which the virtual and the real co-exist. The accompanying installation extends this condition through a dialogue between interior and exterior spatial registers, activated by the shifting relationship between positive and negative space. Suspended mirrors oscillate like pendulums, each movement revealing glimpses of an alternate spatial order. They function not only as narrative devices, but as silent metaphors—suggesting the latent presence of wormhole-like connections, concealed within the fractures between temporal and spatial states.

付洁 | JIE FU

Printed on Canvas｜布面绘画

付洁的作品《昼与月》以“自我的双重性”为核心。在“从一日到另一日，从一个自我到另一个自我”的流转中，她捕捉了昼夜交替那一瞬的永恒。

画面被分割为两个互为镜像的世界：左侧，白角的女神立于深蓝的幽暗中；右侧，黑色的剪影沐浴在金色的光辉里。两者之间，一池静水托起漂浮的球体，它们如星体般巡游——有的灿烂如烈阳，有的深邃如黑洞，有的斑驳如大地。这一空间成为了时间的剧场：对称却不重复，明暗交织，去留无声。一排柏树如沉默的见证者，标记着这场永无止境的邂逅。

这组画作不是在描绘自然节律，而是在描绘“生命如何通过遇见而完整”。这种灵感源自对存在主义诗意的体悟：我们在行进中与风雨星辰相遇，在停歇时与聚散欢欣相遇。而那个最终遇见的“你”，或许是他人，或许是另一个时空的自我。两位守护者既是独立的灵魂，又是同一生命体的镜像状态。

《昼与月》呈现出一种关于“门槛”的哲学：我们始终在跨越边界，与风景、与他人、与不同版本的自我碰撞。黑与白并非对立，而是彼此依存的底色——没有黑夜的深度，白昼便无从闪耀；没有“你”的存在，自我便始终残缺。那些漂浮的球体象征着生命中的无数瞬间：有的如初见般明亮，有的如告别般黯淡。它们像行星一样靠近又分离，在意识的引力中留下波纹——那是生成、消融、并再度重逢的痕迹。

Fu Jie’s work Day and Moon centres on the notion of a divided self. Within the passage “from one day to the next, from one self to another,” she captures the fleeting yet enduring threshold of transition between day and night.

The composition is structured as two mirrored yet distinct realms. On the left, a white-horned figure stands within a deep, nocturnal blue; on the right, a dark silhouette is immersed in a field of golden light. Between them, a still body of water supports a constellation of floating spheres, which drift like celestial bodies—some radiant as suns, others dense as black holes, others mottled like the surface of the earth. This space unfolds as a theatre of time: symmetrical yet non-repetitive, where light and shadow interweave, and arrival and departure remain unspoken. A row of cypress trees stands as silent witnesses, marking an encounter that is continuous and unresolved.

Rather than depicting natural cycles, the work reflects on how life attains a sense of completeness through encounters. Its sensibility draws on a poetic understanding of existence: in movement, one encounters wind, weather, and the cosmos; in stillness, one encounters convergence and dispersal, joy and loss. The “other” encountered may be another person, or a self situated in a different temporal or spatial register. The two figures function both as autonomous presences and as mirrored states of a single being.

Day and Moon articulates a philosophy of the threshold. It suggests that existence is constituted through continual crossings—between environments, between others, and between multiple versions of the self. Black and white are not oppositional, but mutually constitutive: without the depth of night, daylight cannot emerge; without the presence of the other, the self remains incomplete. The floating spheres evoke the multiplicity of lived moments—some luminous as first encounters, others dimmed like farewells. Like planets, they approach and recede, leaving subtle traces within the gravitational field of consciousness: marks of formation, dissolution, and return.

符梦希｜MENGXI FU

Video｜影像

符梦希的作品以“数字生命与自我消亡”的心理关系为核心。在她构建的语境中，化身（Avatar）不再仅仅是虚构的代码，而是人类身份在虚拟空间中的延伸，承载着自我表达与社交联结的重叠意象。化身的“消失”并非简单的程序终止，而是一种具有存在主义色彩的落幕，与现实个体的逝去形成了一种互文式的共振。

在《雪梨的葬仪屋：数字纪念活动》中，她将 VR 空间转化为一座赛博时代的告别之所。这既是一场艺术行为表演，也是一次关于数字身份与悼念行为的人类学考察。通过在 VRChat 中定期举办虚拟葬礼，她为那些曾被寄予情感的化身建立档案，在沉浸式的哀悼仪式中观察、记录并访谈，捕捉那些在比特世界中流动的伤感与温情。

这些活动不是在模拟死亡，而是在探讨“存在如何被定义”。正如阿曼达·拉格奎斯特所言，存在是有限且终将消逝的，而身体是连接自我与世界的锚点。当虚拟躯壳在光影中瓦解，人类对于“永恒”的幻想被打破，取而代之的是对数字存在之脆弱、深刻且真实的凝视。

Fu Mengxi’s practice centres on the psychological relationship between digital life and self-extinction. Within the context she constructs, the avatar is no longer merely a fictional assemblage of code, but an extension of human identity within virtual space—carrying overlapping functions of self-expression and social connection. The “disappearance” of the avatar is not simply a technical termination, but a moment imbued with existential resonance, forming an intertextual echo with the passing of the physical self.

In Snowy’s Funeral Parlour: Digital Memorial Events, she reconfigures VR space into a site of departure within a cybernetic condition. The project operates simultaneously as a performative artwork and as an anthropological inquiry into digital identity and practices of mourning. Through the regular staging of virtual funerals within VRChat, she constructs an archive for avatars that have been invested with emotional significance. Within these immersive rituals of mourning, she observes, documents, and conducts interviews, tracing forms of grief and tenderness that circulate within networked environments.

These activities do not seek to simulate death, but to question how existence is defined. As noted by Amanda Lagerkvist, existence is finite and oriented towards disappearance, while the body functions as an anchor between the self and the world. As virtual bodies dissolve into light and image, the human projection of permanence is unsettled, giving way to a more acute awareness of the fragility, intensity, and lived reality of digital existence.

李雯慧｜VIVIAN LEI

Mixed Media / Textile & Sculpture｜混合媒材与纺织装置

从家乡出发，从日常材料出发，也从无声的社会结构出发。她长期关注地方社区与社会边缘群体，以回收布料、铁丝、蜡与旧物进行创作：那些“被遗忘、被替代、被拆解”的材料，被她重新拼接成新的结构。

这是一种关于记忆的修补，也是一种关于现实的抗争。
当熟悉的街区消失、传统被重写、旧物失去意义，她用纤细却顽强的方式，将它们重新缝回世界。

她的作品告诉我们：现代化的速度可以摧毁空间，但无法摧毁记忆。

Wenhui Lei has long focused on local communities and socially marginalised groups, working with reclaimed fabrics, wire, wax, and discarded objects. Materials that are “forgotten, replaced, or dismantled” are reassembled by her into new structures.

This is both a repair of memory and a form of resistance against reality.
As familiar neighbourhoods disappear, traditions are rewritten, and objects lose their meaning, she uses a delicate yet resilient approach to stitch them back into the world.

Her work reminds us that while the speed of modernisation can dismantle physical space, it cannot erase memory.

李韶旭 ｜SHAOXU LI

Oil on Canvas｜油画

李韶旭的绘画以“人-自然”的心理关系为核心。他笔下的动植物被放大到不安的尺度，像是与世界脱节的象征，既熟悉又陌生。画面由刮刀反复涂抹的色彩构成，看似无序，却带有强烈的精神流动感。

这些画不是描绘自然，而是描绘“意识如何被动摇”。
当环境失序、秩序松动，人类作为万物中心的想象就被解除，取而代之的是焦虑、威胁、未知与自我失控。

在《过渡回响》中，他的作品呈现出一种与现实同步的裂痕：变化没有来势汹汹，但在不断侵蚀。

Li Shaoxu’s painting centres on the psychological relationship between human and nature. The animals and plants in his work are enlarged to an unsettling scale, becoming symbols of disconnection from the world—both familiar and estranged. His compositions are built through repeated applications of colour with a palette knife; seemingly chaotic, yet charged with an intense sense of psychological flow. These works do not depict nature itself, but rather the destabilisation of consciousness.

As environments fall out of order and structures begin to loosen, the notion of humanity as the centre of all things dissolves, replaced by anxiety, threat, uncertainty, and a loss of control. In Echoes in Transition, his works reveal a fracture that runs parallel to reality: change does not arrive violently, but unfolds through a gradual and persistent erosion.

林志豪｜ZHIHAO LIN

Photography / Moving Image｜摄影与影像

林志豪的作品以“身体-历史”的图象演变为核心。在漫长的人类史中，身体不仅是物质的存在，更是信念与欲望的视觉投射。从史前洞窟中作为自然延伸的躯体，到古希腊时期追求“神圣秩序”的理想美，身体始终承载着某种永恒的本质。

然而，林志豪的作品并非在重塑经典，而是在探讨“图象如何解构主体”。当文艺复兴的解剖学剥开了皮肤，当十九世纪的摄影术捕捉了死亡与运动，身体便从神性中剥离，沦为机械时代的物质材料，并在大众媒体的洪流中被无限复制与符号化。在这种视角的流转中，原本固实的自我开始动摇，取而代之的是对“观看”本身的反思。

在这次创作中，他将生理男性身体置于核心，展开了一场关于“男性凝视男性”的情感考古：当性别符号被剥除，纯粹的肉身与主体性之间是否存在裂痕？这种追问并非为了建立性别的对立，而是试图在“性别”之前，还原一个关于“人”的论述空间。

林志豪的创作通过摄影与影像的交织，结合田野调查与现场干预，呈现出一种介入现实的深度：艺术不再是静止的再现，而是对人与环境、个体与身份、个人能动性与权力结构之间复杂博弈的持续追踪。

Lin Zhihao’s work is centered on the iconographic evolution of “Body-History.” Throughout the long trajectory of human history, the body has been more than a physical entity; it is a visual projection of belief and desire. From prehistoric caves where the torso served as an extension of nature, to the pursuit of “divine order” and ideal beauty in Ancient Greece, the body has perpetually carried the weight of an eternal essence.

However, Lin’s work is not a reconstruction of the classical, but an exploration of “how imagery deconstructs the subject.” As Renaissance anatomy peeled back the skin and nineteenth-century photography captured death and motion, the body was stripped of its divinity, relegated to material substance in the mechanical age, and infinitely replicated and symbolized within the torrent of mass media. In this shifting perspective, the once-solid self begins to falter, replaced by a profound reflection on the act of “gazing” itself.

In this current creation, he places the physiological male body at the core, embarking on an emotional archaeology of the “male gaze directed at the masculine form.” When gender symbols are stripped away, does a fracture emerge between the pure flesh and subjectivity? This inquiry is not intended to establish a gender binary; rather, it seeks to restore a discursive space for the “human” that precedes the “gendered.”

Through the interweaving of photography and moving images, combined with field research and site-specific intervention, Lin’s practice achieves a depth of engagement with reality. Art is no longer a static representation, but a continuous tracking of the complex interplay between human and environment, individual and identity, and personal agency within power structures.

麦沚昕｜ZHIXIN MAI

Contemporary Jewellery / Material-based Practice｜实验首饰与材料实践

麦沚昕的作品小、静、柔软，却拥有惊人的穿透力。

她将天然木材、银与纺织材料结合，将传统首饰工艺与跨学科方法融合，制作可佩戴的“微型雕塑”。她关注性别、身体、身份的流动，也关注“树”作为记忆的隐喻——年轮、质地、断裂与修复，都像人的成长轨迹。

她的作品不是装饰性的，而是具有思考性的“贴身叙事”。
你佩戴它，也被它“记录”。

她的实践提醒我们：变化不是巨大的，而是缓慢、细微、嵌在日常触觉之中。

Zhixin MAI’s works are small, quiet, and soft, yet possess a striking intensity. Combining natural wood, silver, and textile materials, she merges traditional jewellery craftsmanship with interdisciplinary approaches to create wearable “micro-sculptures.” Her practice engages with the fluidity of gender, body, and identity, while also considering the “tree” as a metaphor for memory—its rings, textures, fractures, and repairs echoing the trajectories of human growth. Her works are not decorative, but function as intimate, embodied narratives.

You wear them, but they also “record” you. Her practice reminds us that change is not grand or abrupt, but gradual, subtle, and embedded within the tactile rhythms of everyday life.

张轩墉｜KIRK ZHANG

Photography / Moving Image｜摄影与影像

张轩墉用摄影处理时间。他的镜头始终是克制的、静默的、慢速的，仿佛在与世界保持恰到好处的距离。

他关注那些“正在发生与尚未发生之间”的瞬间：
海浪即将退去
光线刚刚改变
一个人即将转身
某种情绪还未来得及命名

对他来说，摄影不是记录，而是介入，是暂停，是让时间变得可被凝视。他以极少的视觉语言，呈现深层的情感密度。

在《过渡回响》中，他的图像让观众意识到：变化并不总是喧哗，很多时候，它在沉默中完成。

Kirk ZHANG works with photography as a way of processing time. His lens remains restrained, quiet, and slow, as if maintaining a precise distance from the world. He attends to moments that exist between what is happening and what has yet to happen:

the instant before a wave recedes
the moment light begins to shift
a body on the verge of turning
an emotion not yet named

For him, photography is not a form of documentation, but an intervention—a pause that renders time visible and open to contemplation. With a minimal visual language, he conveys a profound emotional density. In Echoes in Transition, his images remind viewers that change is not always loud; more often, it unfolds in silence.