KELVIN ZHU 朱浚侨
In the Maelstrom of Madness,
we struggling to keep * afloat.
MAD 9 狂夜
"The unease, frenzy, anxiety, and helplessness that surge through the hearts of the internet generation are feelings that pervade social media and merge together, forming 'MAD 9（MAD Night）.’ This art book project combines emotive visual images with sporadic captioned statements to re-establish a mental space for releasing emotions and obtaining temporary solace.
Kelvin Zhu has archived and categorized various emotional mood board images collected over the years on social networks. By employing artificial intelligence and digital synthesis, these images are merged and recreated, offering a flowing experience of visuals and emotions within the flat medium of the book, guiding readers between the clamor of contemporary society and inner tranquility. The flat images are not merely visual media but become a synesthetic device that bridges visuals and emotions.
Through the traditional medium of paper, the project attempts to establish a 'smooth' yet 'contemplative' connection with readers. In this era of information overload, 'MAD 9' aims to provide readers a pathway through visual images. By pausing after the visual pleasure to reflect, it gives oneself a chance for 'inner affirmation.’
Centered around the theme of 'the wild night bestowed upon us by the world,' it reflects the complex and contradictory mental state of the current internet generation. It reproduces their intense yet restrained emotional fluctuations, searching for a moment of personal peace amidst a complex sea of emotions."
那些涌动在互联网一代心中的不安、狂躁、焦虑和无助，这些充斥在社交媒体上无处不在的感受彼此汇聚融合，以一种互为截面的姿态构成了「MAD 9 狂夜」。这本画册通过将情绪化的视觉图像与零星的标题语句（Captions）组合，重新建立了一个用来释放情绪与获得短暂慰藉的心灵空间。
艺术家通过对多年来在社交网络上所收集的各类情绪板 (Mood board)图像进行了归档与分类，并使用了人工智能与数字合成的手段进行图像的融合再创造，将画册在平面的媒介内呈现了一场视觉与情绪的流动体验，引领读者穿梭于当下社会的喧嚣与内心的宁静之间。平面的图像不仅作为单一的视觉媒介，而是成为了视觉与情绪之间的一种联觉装置。
项目通过传统的纸质媒介，试图与读者建立起一次「平滑」但具有「观想可能」的连结。在这个信息爆炸的时代，「MAD 9」希望为读者去提供一个以视觉图像作为入口的通道。通过获得视觉快感后停滞片刻，思考后给予自己一个「内证」的机会。
“世界所给予我们的疯狂一夜”，这本画册以此为引，用图像展示当下「社交媒体世代」复杂矛盾的精神状态。复现那些的炙热又克制的情感波动，在繁杂的情绪汪洋里，寻找一份属于自己的片刻安宁。
2024
In gazing at our feet, we behold Earth and the boundless cosmos.
Over-Scaled：Astronomical Diagram
超像素：天文图示
“当我们看着自己的脚下，同时望向的是地球与整个宇宙。”
当这些像素点被无限放大，让观者直面它们的粗糙本质时，"过度解析"的影像孕育出一种质朴平滑的视觉体验。放大并没有带来影像"真实再现"的期待，反而令其分解为我们能够观测的基础单位——像素颗粒。“超像素”是基于传统 像素增强 这一行为下，使用人工智能算法对其图像增强的极限进行探索，进而展示出数字影像“原初”与“终焉”的面貌。
通过人为干预的超像素方式，这些无限放大的失真像素被输入人工智能算法进行超分辨率重建。由此产生的，是一片基于“人类共识”（算法数据库）所构筑的”虚妄之境”（生成图像）。它们宛如一扇扇透镜般的窗口，让我们的视线触及到那如同“一沙一世界”具象存在的微观境界。纷繁缭乱、错综复杂的结构所汇聚成的想象之域。
正如金刚经所提:「一切有为法,如梦幻泡影」
数字影像亦是如此，它由无数像素点汇聚而成，却能用图像复现出人类世界。但其基础根本——粗糙而平静的像素，自始至终透露着一种"万物皆空，空亦为有"的存在状态。
在“超像素”的过程中，单纯的像素组进行了变换与扩增，每一组被”解码”的像素点，各自作为“窗口”映射出一个独立的微缩世界切片，像素间的“因缘和合”以一种图像的方式通过算法重新生成，原本失真分离的点块被赋予新的相貌。如同这无常虚空的宇宙，消亡与诞生并存，不垢不净，不增不减。
“面对大海，无助的我们凭借对真理的一味追求，欲望驱动我们扬帆起航，愚钝而英勇地前往未知。”
"When we gaze at our feet, we are simultaneously beholding the Earth and the entire cosmos."
In "Over-Scaled", pixels pushed beyond their resolution limits confront viewers with their granular essence. The paradox unfolds: "over-interpretation" of these infinitely magnified fragments generates an unexpected visual purity. What begins as a pursuit of "authentic representation" collapses into its elemental units - pixel particulates laid bare. This project interrogates the terminal thresholds of AI-driven super-resolution, using algorithmic enhancement to simultaneously expose digital imagery's embryonic purity and entropic demise.
These distorted pixel-scapes - artificially over-scaled beyond recognition - become raw material for AI reconstruction. The output manifests as "consensus hallucinations" : synthetic vistas forged from humanity's visual memory (training datasets). Each acts as a quantum lens, materializing the poetic notion of "infinite worlds within a pixel's bounds" through fractalized microcosms. These hallucinated architectures pulse with chaotic order, their intricate lattices echoing both neural pathways and cosmic webs.
As the Diamond Sutra declares: "All conditioned phenomena are like dreams, illusions, bubbles, shadows."
"Over-Scaled" materializes this truth. Digital images - seemingly concrete yet fundamentally void - reconstruct reality through pixel-voids. Their atomic units oscillate between crude materiality and transcendent emptiness, embodying the Buddhist paradox: "Form is emptiness, emptiness is form."
The process transforms pixel clusters into generative seeds. Each over-scaled fragment, when fed to algorithms, births autonomous world-slices - a digital pataphysics where pixels become portal and cosmos. Their "dependent origination" (pratītyasamutpāda) is computationally reincarnated: disintegrated blocks regain form through algorithmic karma. Here, the universe's eternal cycle - creation preserved in destruction, purity inherent in corruption - mirrors itself in machine vision.
"Facing the ocean, our helplessness compels us to sail forth through singular pursuit of truth, driven by desire to navigate the unknown with foolish courage."
2024
Emotion remains
an elusive andinherently unquantifiable dimension of human experience.
AI MYEYESII：Emotional Mimicry
人工智能与我的双眼：情绪拟态
「"Emotional mimicry"（情绪模仿）是心理学和社会学领域的一个重要概念，指的是个体在与他人交往过程中，无意识地模仿和反映对方的情绪表达和情感状态的行为。这种模仿行为可以体现在面部表情、语音的音调、身体姿态和动作等方面。情绪模仿是人类社会交往中的一种基本机制，有助于促进人际间的理解和情感共鸣，増强社会联系和群体的凝聚力。」
--厄休拉·埃斯(Ursula Hess)
「AI MY EYES II：Emotional Mimicry /人工智能与我的双眼：情绪拟态」旨在探索人工智能是如何通过创造“拟像(Simulacrum)”的方式，进而以视觉角度影响，甚至干涉人类对于阅读图像时所成情感的感知。
项目通过数据采集，信息提取，拟像生成这三步骤构成。在数据采集的部分，以游戏摄影的方式，即在游戏环境中捕捉具有情绪色彩的瞬间，包括角色的表情、身体语言及通过环境、色彩、光线传达的情绪氛围，作为保留虚拟世界中情绪的存储切片。在项目前身——AI MY EYES：Interweaving Realms 中，我将这些游戏摄影图像作为数据集交付给到经过训练的人工智能系统GAN（对抗式生成模型）中，再对其生成内容进行筛选后合成。
然而，在本次续作项目——AI MY EYES II：Emotional mimicry中，筛选游戏摄影图像后，交由给CLIP (Contrastive Language–Image Pre-training) 模型进行图像语义理解，这一系统通过文本重现了图像的视觉特征。再通过迭代后的扩散模型算法（Diffusion Model），将分析出对文本以新的“拟像”形态生成，最终借由数字合成的手段将原图像与“拟像”融合，使其从视觉上产生一种和谐的共生状态。利用人工智能对图像的理解（将信息从数据中提取）与再生成（将信息转化为原数据媒介），完成“拟像生成”这一步骤，经过与原图像的合成后，每一幅游戏摄影图像都在其原有基础上获得了视觉情绪上的加深与画面观感上的扩展。
即便人工智能的图像分析模型并不完全理解人类的情绪复杂性，但经过其数据分析后，所反馈的符合普世价值理解的文本，与利用其文本进而生成的“拟象”，依旧能够激发观看者对画面中的情绪共情和自然秩序的联想，这种单纯的媒介转化，其产物却下意识地符合了“无意识地模仿和反映对方的情绪表达和情感状态的行为”这一概念，从而达成了一种新型的“情绪模仿(Emotional Mimicry)”。
「情绪，是自始至终存在于人性之中，且难以量化的一种状态。项目希望通过AI MY EYES系列中对人类情感与机器感知之间关系的探讨，去引发观众对于视觉艺术、技术和情感共鸣的思考。同时探索在这个处于人工智能爆发前夜奇点的当下，人类情感的存在与客观事实下人性的构成，在科技与艺术媒介中具有一种怎样的辩证关系。」
“Emotional mimicry,” as articulated by Ursula Hess, refers to the unconscious tendency of individuals to mirror and reflect the emotional expressions and affective states of others. This process manifests through facial expressions, vocal intonation, posture, and gesture. It constitutes a fundamental mechanism of human social interaction, facilitating empathy, mutual understanding, and collective cohesion.
AI MY EYES II: Emotional Mimicry extends this concept into the domain of artificial intelligence, investigating how machine-generated simulacra can influence—even subtly interfere with—the formation of emotional perception in the act of viewing images. The project situates itself within a broader inquiry into the mediation of affect, asking how emotion may be translated, reconstructed, and re-experienced through computational systems.
The work unfolds through three interrelated stages: data acquisition, information extraction, and simulacral generation. In the initial phase, emotionally charged moments are captured through in-game photography. These images register expressions, bodily gestures, and atmospheres shaped by environment, color, and light, functioning as preserved fragments of affect within virtual worlds. In the project’s precursor, AI MY EYES: Interweaving Realms, these images were used as datasets and processed through a Generative Adversarial Network, where generated outputs were curated and composited.
In this subsequent iteration, selected images are first processed by CLIP, which performs semantic interpretation by translating visual features into textual descriptions. These textual outputs are then fed into an iterative Diffusion Model, producing new visual forms as simulacra. Finally, through digital compositing, the original images and their generated counterparts are merged, establishing a condition of visual coexistence. Within this process, artificial intelligence performs a dual operation: extracting latent information from image data and re-inscribing it into a regenerated visual medium. Each resulting image thus acquires an intensified emotional register and an expanded perceptual field.
Although contemporary image analysis systems do not fully comprehend the complexity of human emotion, the textual interpretations they generate—aligned with broadly shared semantic frameworks—along with the derived simulacra, nonetheless evoke affective resonance and associations with natural order. This act of translation across media, while technically reductive, paradoxically enacts a form of “unconscious mirroring.” In this sense, the project proposes a technologically mediated extension of emotional mimicry, wherein machines participate in the reflection and amplification of affect.
Emotion remains an elusive and inherently unquantifiable dimension of human experience. Through the AI MY EYES series, this project seeks to examine the relational dynamics between human affect and machine perception, inviting reflection on the intersections of visuality, technology, and empathy. At a historical moment approaching the threshold of widespread artificial intelligence integration, it further considers the dialectical interplay between human subjectivity and objective systems, and how this tension reshapes the conditions through which emotion is perceived, constructed, and shared.
2024
Reconfigured images become strata of human activity—what I call a “digital ore” of the contemporary city.
Over-Scaled: Urban Sediment Layers
超像素：城市沉积层
本项⽬由*富⼠FUJIFILM*委任创作，延续我“超像素”系列的创作脉络。摄影的灵感源⾃我⾃幼成⻓的城市——上海。正如我们所处的这个时代，上海也经历着⻜速的变迁：在⾼速发展的都市进程中，历史被⼀层层压积在城市的地基之下，⽽不断⾼密度的更新与替换，则令这座城市迅速与全球化语境接轨。
我持续观察着这座城市地貌与空间所经历的变动，试图以“视觉”作为⼀种另类的“地质学”切⼝，从图像出发，对城市更迭所遗留下的边缘地带进⾏摄影解构与视觉重组。对我⽽⾔，摄影从来不仅是记录，它更是⼀种具有时间压缩性的视觉操作：通过图像的切⽚、堆叠与重构，我得以介⼊并剖析那些在⽇常中被忽视的⻆落与城市肌理的微妙痕迹。
延续⼀直以来在“超像素”这⼀图像系统上的创作脉络，我通过对图像细节的算法式放⼤，从中提取出接近沉积地层肌理的抽象⾊彩结构。这些被重新构建的图像⽚段，仿佛是都市岩层的剖⾯，⽽它们的构成元素则来⾃建筑表⾯的⽼化、锈蚀的管道、混凝⼟的裂缝，以及施⼯现场所遗留的痕迹——它们共同组成了⼀个由⼈类活动压印⽽成的都市“数字矿层”。
在材质的层⾯上，我尝试将图像从⼆维的平⾯延伸⾄三维的实体。以视觉信息为基础，借助算法⽣成了⼀系列近似岩⽯剖⾯的三维模型，并将其转化为雕塑模型。这些雕塑模拟岩⽯的结构，却不掩其⼈造的痕迹——它们的“仿⾃然”肌理昭示着当代⼈造物与⾃然演化之间那种⽭盾⽽复杂的共⽣关系。
我希望观众在和这些作品进⾏互动时，能够以⼀种客观的视⻆审视我们⽣存在内的城市系统，通过观察这⼀层层由社会建构、技术演进与历史残余所压积⽽成的近代“地质界⾯”与“矿⽯残⽚”，去理解⼟地、城市、社会与⼈类当下处在何种异化的机械结构之中。
Over-Scaled: Urban Sediment Layers is a commissioned project by , continuing the trajectory of my "Over-Scaled" series. Rooted in my personal experience of growing up in Shanghai, the work reflects on the city’s rapid transformation—where layers of historical memory are constantly compressed beneath new urban structures as the metropolis aligns itself with globalized aesthetics.
I observe and document marginal spaces left behind by urban renewal, using photography as a tool of visual geology. For me, photography compresses time—through slicing, layering, and restructuring, it reveals traces often overlooked in the urban landscape.
Through algorithmic magnification, I extract abstract structures from visual fragments—peeling textures from decaying façades, rusted pipes, cracked concrete, and construction sites. These reconfigured images become strata of human activity—what I call a “digital ore” of the contemporary city.
The work expands into three-dimensional forms: sculptures generated from visual data, mimicking geological surfaces while bearing synthetic imprints. These hybrid forms echo the tension between human fabrication and natural formation in the Anthropocene.
I invite viewers to examine the layered interfaces of our built environment—where technology, history, and memory sediment into the geologic surface of modern life.
2025
*Honored to participate in “How Carbon is Forgotten” at Shang Art Museum, curated by Zhang Xiaorui and organized by Irreplaceable Space, in collaboration with Onehouse Arts (LA) and WHOSMUSEUM. The exhibition explores the silent erasure of carbon traces through modernization—linking traditional ecological knowledge and contemporary artistic critique. By contrasting industrial materials with new carbon-capture technologies, it questions the historical debts and politics of memory behind “carbon neutrality.”
Home thus emerges as both an emotional locus and a form of refuge against external uncertainty.
超像素：家内风景
在后疫情时代的持续震荡中，个体的生存经验被重新书写，“家”这一概念亦随之发生转向。
当“家”不再指向一个具象的居住空间，而逐渐内化为心理结构中的稳定装置，承载着对秩序、安全与可预期性的渴望，由此成为一种情感性的锚点，一种抵御外部不确定性的精神庇护。
超像素：家内风景（Homescape）以此为出发点，将“家”作为一种可被观看与再组织的视觉图示系统。作品尝试通过对家庭内部空间的再调度与能量感知的重构，探讨个体如何在后动荡语境中主动生成片刻的宁静与内在秩序。项目引入“超像素（pixel-enchanted）”技术与人工智能算法，对日常生活的细部进行极限放大，使原本被忽视的瞬间转化为具有自足性的微观空间。
在这一视觉机制下，家的每一处角落不再是单一的功能区域，而被延展为承载情绪、记忆与感知流动的场域。每一幅“家内风景”既是一个被凝视的瞬间，也是一种持续生成的能量结构。基于此，作品进一步发展出一本《家内风景导览手册》，作为一种介于艺术文本与感知指南之间的媒介形式。它以邀请的姿态展开，引导观者进入这一被重新编码的家庭空间，并在其中经历一次关于亲密性、感知与存在状态的微观旅行。
In the aftermath of the pandemic, prolonged instability has reshaped individual experience, prompting a redefinition of “home.” It no longer exists merely as a physical dwelling, but increasingly operates as an internalized psychological structure—an anchor that holds the desire for order, safety, and predictability. Home thus emerges as both an emotional locus and a form of refuge against external uncertainty.
Superpixel: Homescape takes this shift as its point of departure, approaching “home” as a visual and conceptual system open to observation and reconfiguration. The project investigates how moments of stillness and inner order can be actively constructed within conditions of flux, through the reorganization of domestic space and the recalibration of its perceived energies. By employing “pixel-enchanted” technology alongside artificial intelligence, the work amplifies fragments of everyday life to an extreme degree, transforming overlooked details into autonomous micro-spatial units.
Within this visual framework, each corner of the home is no longer defined by function alone. Instead, it unfolds into a field that carries affect, memory, and perceptual flow. Every “homescape” becomes both a suspended moment and a continuously evolving energetic structure. Extending from this logic, the project materializes as a Homescape Guidebook—a hybrid medium situated between artistic text and perceptual manual. It operates as an invitation, guiding viewers into a re-encoded domestic environment, where an intimate journey through perception, presence, and micro-experience quietly unfolds.
2024
L
Future, the prompt world
本项目聚焦于人工智能生成内容（AIGC）在当下语境中对人类视觉经验的重塑。其所涉及的并非单一维度的技术进展，而是指向更为深层的认知结构问题，即人类如何在生成性技术的介入下重新理解自身的公共记忆，以及重新界定过去、当下与未来之间的关系。
长期以来，人类所依赖并认定为“真实”的认知框架，正逐步受到人工智能生成内容的挑战。随着生成技术在图像、音乐与文学等领域的广泛渗透，其影响已从工具层面延伸至生活方式与感知机制本身。基于少量引导词（prompt）的输入，人工智能即可生成具有高度完成度的内容，从而建构出一种可被感知、却未必真实的“现实幻象”。
面对这一转变，判断不再是单向的。一方面，引导词机制释放了创造的门槛，使“生成”成为一种普遍能力。它打破了传统意义上的创作壁垒，拓展了想象的边界，并使多元而未定的未来得以被持续建构。另一方面，这一机制亦潜藏着结构性的风险。当复杂的文化生产被压缩为可被调用的语义指令，人类对于历史的认知基础或将面临重写。既有的记忆与经验，可能在反复生成与替代之中发生偏移，进而逐渐失去其原有的参照价值。与此同时，新的生成图景也可能反向塑造我们对于未来的期待与叙事方式。
《Future, the Prompted World》 正是在这一张力之中展开。项目通过对人类历史中经典视觉范式的模拟与再生成，揭示人工智能在视觉建构层面的介入方式及其影响力。这一过程并非对既有作品的简单复制，而是一种关于“生成逻辑”本身的显现。
项目试图引导观者以主体身份直面这一正在发生的技术转向。在观看与辨识之间，重新建立对人工智能生成物的理解路径，并在此基础上反思人类与技术之间不断变化的关系。通过开放性的呈现方式，作品亦期望激发更广泛的公共讨论，使关于记忆、真实与未来的议题，在当代语境中获得持续的思考与延展。
This project examines the transformative impact of AI-generated content (AIGC) on contemporary visual experience. It extends beyond the scope of technological advancement, addressing deeper epistemological questions concerning collective memory and the evolving relationship between past, present, and future under the influence of generative systems.
The frameworks through which reality has traditionally been perceived and validated are increasingly destabilized by the proliferation of AI-generated content. As generative technologies permeate fields such as image-making, music, and literature, their influence reaches beyond production tools to reshape modes of perception and everyday experience. With only a limited set of prompts, artificial intelligence can produce highly resolved outputs, constructing perceptible yet potentially ungrounded “realities.”
This shift resists singular interpretation. On one hand, prompt-based generation lowers the threshold of creation, transforming production into an accessible and widely distributed capacity. It dismantles established creative hierarchies and expands the horizon of imagination, enabling the continuous construction of plural and speculative futures. On the other hand, it introduces structural uncertainties. When complex cultural production is reduced to programmable semantic inputs, the foundations of historical understanding may be subject to reinterpretation or even erasure. Memory and experience, once anchored in continuity, risk distortion through cycles of regeneration and substitution. Simultaneously, newly generated imagery may begin to inform and reshape expectations of the future itself.
Future, the Prompted World emerges from this tension. The project engages in the simulation and re-generation of canonical visual paradigms from human history, foregrounding the operative logic and aesthetic agency of AI systems. Rather than replicating historical works, it exposes the conditions through which images are now produced, circulated, and recontextualized.
The work invites viewers to confront this ongoing technological shift from a human-centered perspective. It proposes a renewed framework for understanding AI-generated artifacts through acts of observation and critical reflection. By fostering an open and discursive space, the project seeks to stimulate broader conversations around memory, authenticity, and the construction of future imaginaries, situating these concerns within the expanding interface between human cognition and machine intelligence.
2023
In ancient lore, some hailed it as a harbinger of grace, others cursed it as a celestial omen.
The Cosmics Tear 流星
Meteor: A Dual-Faced Existence—Blessing or Curse
In ancient times, meteors were often seen as omens bearing dual meanings. Some regarded them as symbols of blessing and fortune, while others feared them as curses cast from the heavens. Their fleeting appearance—brilliant yet transient—mirrors the human experience of chasing desire and a sense of wholeness, only to encounter loss and descent. The meteor, then, becomes both a beacon of hope and a signifier of impermanence and dissolution. Its swift trajectory and blazing intensity embody a momentum that, once initiated, cannot be reversed.
This body of work begins with the philosophical metaphor of “falling,” exploring the emotional resonance of free fall and groundlessness. In today’s era of information overload and hyper-digitization, individuals often find themselves suspended in a state of disorientation—rootless, lacking reference, and emotionally weightless. This experience of “groundlessness” leaves the self adrift in ever-shifting societal values, with no stable support. Meteor conveys this emotional state through poetic images and text, symbolizing the longing for a past when identity and stability were more coherent, while also confronting the brutal truth that such a sense of stability may no longer be recoverable. The allure of desire and jouissance compels the subject into an uncontrollable descent into the unknown, with emotional scars and identity disintegration as inevitable consequences.
Yet within this act of “falling,” the work seeks to capture the potential for rebirth and reconstruction amid fragmentation. Behind the blurred visuals lies a symbolic gesture of emotional deconstruction and a longing for regeneration. Through this fractured visuality, the individual may find, within the experience of groundlessness and free fall, a renewed inner balance and the possibility of transformation. The meteor’s flare, while indicative of destruction, also casts light on rebirth—a glimpse of hope in fragmentation, a courage to rediscover the self and redefine meaning in life.
The fleeting nature of emotional movement mirrors the transience of meteors. Meteor becomes a meditation on the modern condition of emotional and identity instability. Through a subjective lens, it presents the contradictions and tensions individuals endure in their pursuit of jouissance, freedom, and liberation. It is both a personal narrative of contemporary emotional states and a philosophical reflection on the entanglement between falling and emancipation. The work invites viewers to stand under this “meteor shower” and re-examine the significance of emotional life and its connection to the world.
流星，作为一体两面的存在，在古代有人称其为福祉与幸运，也有人认为是天降凶兆的诅咒。它瞬间闪现又迅速消逝的状态，恰似人类在追逐欲望与完整感时所经历的失落与坠落。它既是希望的象征，也代表着无常与消解。正如流星的生命一般，极致速率带来的燃烧，也正踏入一种无力回头的境地。
作品从“坠落”这一哲学隐喻出发，探索了自由落体与无地性所带来的情感体验。在当今信息爆炸、数字化过度的社会中，个体的情感和认同常常陷入一种无根基、失去参照点的“失重”状态，仿佛漂浮于“无地性”的空虚中。没有固定的支撑，个体在不断变化的社会价值观中迷失自我。《流星》通过诗意化的影像与文字，传递这一情感体验——它象征着对过去存在的稳定性完整回忆的渴望，同时也揭示了这一稳定性渴望在未来是无法复现的残酷事实。欲望与享乐的诱惑让个体被迫向无法掌控的未知领域坠落，情感的伤痕与身份的迷失成为必然的后果。
然而，这场“坠落”中，作品试图捕捉的正是那种碎片化后的重生与重构的力量。在模糊的影像背后，隐藏着一种情感的视觉解构与重生渴望的象征。通过这一破碎的视觉状态，个体有机会在无地性和自由落体的过程中，找回个体内心的某种平衡和新生的可能。流星的闪烁不仅代表着毁灭，它同时映照出一种重生的希望，一种在破碎中找回自我、重新定义生活意义的勇气。
个体情感的流动的无常一如流星般转瞬即逝，《流星》是对现代社会中个体情感与身份认同的探讨，以主观视角呈现了个体在追求享乐、自由与解放的过程中所经历的矛盾与冲突。它是对当代个体情绪的主观叙事，也是对“坠落”与“解放”交织的一种思考，邀请观众在这片“流星雨”下重新审视个体情感与世界之于生活的链接意义。
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家系图谱：成为介质
我们习惯将媒介理解为图像、语言或物，将其视为传递思想与经验的工具。然而，本项目提出另一种视角：人本身亦可被理解为一种媒介。身体、记忆、生活选择以及个体所经历的一切，均可被视为时代信息在个体之中的沉积与流动。
“成为介质”构成了本次展览的核心方法论。它既指向艺术家如何通过静物摄影介入历史性的存在，也指向观者在无意识中已承担的媒介角色。个体不仅拥有经验，也承载经验。在与空间的互动、与物的共处以及与时间的共振之中，人逐渐转化为一种连接结构，将过去、当下与未来贯通。
当视线投向“家”这一场域，所呈现的并非单纯的空间与陈设。物的表面纹理、光线的停驻轨迹，以及残留其间的气息与记忆，共同构成了一种复杂的感知结构。在“物”与“人”、“记忆”与“时间”的静默对话中，一种隐性的历史经验得以显现。
本项目源于艺术家一次偶然的置业经历。该空间为一处位于上海的20世纪80年代住宅，虽非家族祖屋，却承接了家族居住史的延续。房屋未经翻修，保留着上一位居住者的生活痕迹。室内器物——木柜、瓷器、灯具与日常器皿——与艺术家的祖辈处于相似的时代语境，尽管彼此陌生，却在生活质感与时间气息中形成一种跨越性的关联。
正是这种距离，使艺术家得以暂时悬置私人记忆的干扰，将摄影作为方法，转向物之自身的历史语境与公共感知。通过一种去主体化的观看方式，影像不再服务于个人叙述，而成为观者与艺术家共享的感知界面。在他者的生活遗存之中，一个时代如何塑造家庭、空间与物的关系得以被重新观察。
展览中的作品均为黑色背景下的静物摄影。图像以近似类型学的方式组织，呈现出一种近乎考古学的凝视。器物不再作为收藏对象或叙事道具存在，而被转化为时间雕刻下的“情感地层”。其表层质地与内在温度在影像中被重新显影。
摄影在此不仅记录物的形态，也揭示经验如何沉积于人与物的关系之中。这组作品构建出一种克制而冷静的“心理风景”，使情感与文化记忆在日常物件中显现其隐秘流动。每一件器物都曾被使用、修补与凝视，它们既是生活的参与者，也是情感的传递者。
在拍摄过程中，艺术家逐渐意识到一种在当代加速语境中逐步消退的生活态度：对物的珍视，以及将日常用品视为陪伴者的情感维度。这种朴素而持续的生活伦理，体现了上一代人面对有限资源时对生活秩序的维护与回应。静物所映射的，是一种以节制与耐心构建温度的方式。
展览标题《成为介质》引入了“Mediumorphosis（媒介流变）”这一概念。该词由“medium”与“metamorphosis”构成，指向媒介属性在不同层面中的转化过程。它既描述了器物在影像中的再语境化，也指向个体在时间、空间与记忆交汇中逐渐转化为媒介的状态。
在这一框架下，个体不再仅是经验的拥有者，而成为经验的承载结构与传递路径。当个体转化为媒介，观看亦发生转向：通过他者之物，个体得以回望自身；当经验转化为形式，私人记忆转译为公共感知；当器物转化为记忆结构，其功能性被超越，成为集体经验的载体。
在图像高速生产与信息过载的当下，意义的获取趋向于即时与表层。本项目试图重建一种缓慢的观看机制，使观者重新感知媒介的形态、温度与伦理维度。在展览现场，观者被邀请以“媒介”的身份进入，通过感知与记忆的交互，重新建立与世界的联系。
当观看不再是占有与记录，而成为一种穿行与承载，艺术家与观者在影像中形成并置关系。影像空间由此转化为一个关于记忆的共振场域。原本属于他者的生活遗存，在此刻成为连接个体经验的公共场所。
这些器物承载着特定时代的生活方式、审美取向与情感结构。在时间的磨损中，它们保留了关于“如何生活”的具体回应。在不断更新与消费的语境之中，这些回应仍具备被重新理解的价值。
在这些静物影像之中，个体不再处于外部位置，而被纳入历史与经验的流动之中。人被唤起、被连接，并在无形中被转化为媒介。作为记忆的容器、经验的延续体与时间的传递者，个体得以在影像中看见时代如何穿越自身。
We often understand media as images, language, or objects—external tools through which thought and experience are transmitted. This project proposes an alternative proposition: the human itself may be understood as a medium. The body, memory, lived experience, and individual choices function as sites where historical and cultural information is inscribed, circulated, and transformed.
“Becoming Medium” serves as the central methodological shift of this exhibition. It addresses both the artist’s engagement with historical presence through still-life photography and the viewer’s implicit role as a carrier of experience. The individual does not merely possess experience but embodies it. Through interactions with space, objects, and temporal conditions, one gradually assumes a mediating function that connects past, present, and future.
When attention turns toward the domestic space, what emerges extends beyond physical interiors or material arrangements. Surfaces, textures, traces of light, and residual atmospheres together construct a layered perceptual field. Within the silent interplay between object and subject, memory and time, latent historical structures begin to surface.
The project originates from the artist’s encounter with a residential space in Shanghai dating back to the 1980s. Although not an ancestral home, it carries forward a familial continuity through generational transition. The apartment remains unrestored, preserving the material traces of its previous inhabitant. Objects within the space—wooden cabinets, ceramics, lighting fixtures, and everyday utensils—belong to a shared historical condition aligned with that of the artist’s grandparents. Despite the absence of direct personal connection, a form of temporal familiarity emerges.
This distance allows the artist to suspend subjective memory and approach the objects through a more detached observational framework. Photography becomes a method for engaging with the historical and collective dimensions embedded in material culture. The resulting images do not function as personal narratives but as shared perceptual interfaces through which both artist and viewer encounter a broader temporal condition.
All works in the exhibition are still-life photographs set against black backgrounds. The images are organized through an almost typological structure, invoking an archaeological mode of attention. Objects are neither displayed as collectibles nor as narrative devices. Instead, they appear as “emotional strata,” shaped by time and rearticulated through the photographic surface.
Photography here does not merely document form; it reveals how experience accumulates within the folds between human and object. The series constructs a restrained and contemplative “psychological landscape,” in which cultural memory and affect circulate through everyday materials. Each object bears traces of use, repair, and attention, functioning simultaneously as a participant in life and as a carrier of emotion.
During the process, the artist recognizes a mode of living that is gradually receding within contemporary accelerated systems: a sensibility that values objects and regards them as companions rather than disposable tools. This understated yet enduring ethic reflects a generational response to limited resources, forming a quiet but resolute structure of care and continuity.
The exhibition introduces the term Mediumorphosis—a conceptual synthesis of “medium” and “metamorphosis.” It describes both the transformation of objects within the photographic context and the process through which individuals themselves become mediating entities within intersections of time, space, and memory.
Within this framework, the individual shifts from being an owner of experience to a carrier and transmitter of it. As one becomes a medium, perception is reoriented: through encountering the objects of others, one reflects upon one’s own life; as experience transforms into form, private memory becomes translatable into shared perception; as objects become structures of memory, their functional role is surpassed, and they assume the capacity to hold collective experience.
In an era defined by the rapid production and consumption of images, meaning is often accessed through immediacy. This project proposes a slower mode of engagement, foregrounding the material, affective, and ethical dimensions of mediation. Within the exhibition space, viewers are invited to recognize themselves as mediums, activating connections between memory and perception.
When observation shifts from possession to participation, both artist and viewer enter a shared field of resonance. The space ceases to belong to a singular subject and instead becomes a site of collective memory. What once constituted the remnants of another life is transformed into a relational structure that connects multiple temporalities.
These objects embody the lifestyle, aesthetic sensibilities, and emotional structures of a particular historical moment. Despite the erosion of time, they retain responses to the fundamental question of how to live. Within contemporary conditions of constant renewal, such responses remain worthy of sustained attention and reinterpretation.
Through these images, the individual is no longer positioned as an external observer but becomes embedded within the جریان of history and experience. One is activated, connected, and gradually transformed into a medium—serving as a vessel of memory, a conduit of history, and a continuation of lived experience. Within these still-life images, one encounters how time itself has passed through us.
2025