观 | Observation

观看者与被观看的客体的关系是相互投射、反复叠加的。图画并非客观世界在二维平面上的呈现，而是观看者主体与客体之间相互作用的结果。“我”作为主体看见的并非客观现实，而是“我”内心世界的外化，是“我”的心像，完全不同于他人看到的世界。

The relationship between the observer and the observed object is reciprocal, mutually projected and layered. A painting is not simply a presentation of the objective world on a two-dimensional canvas; it is the result of the interaction between the observer’s subjectivity and the object. What I, as the subject, see is not objective reality but an externalization of my inner world—a mental image entirely distinct from how others perceive the world.

这个系列源于一组表现艺术家少时在故乡清代园林及假山中生活和攀玩的记忆的画作，以一种卡尔维诺式、“看不见的”方式对记忆中的残像和叠影进行时空拉扯和拼贴。在二次创作时，艺术家将画作数码化，在电子屏幕上重新审视。由于电脑与人脑不同，“它”能够读取的数据受限于“它”的“世界观”，让其读取绘画所包含的信息显然超出了电脑系统理解世界的能力，因此其解码出的结果会呈现为乱码般的图像——一种无法被人类理解的图像。当艺术家再次作为观看者主体观看这被数据乱流扰动的人文痕迹时，主体与客体，包括迭代出的新的主体与客体相互投射、叠加、镜像，无穷无尽。

This series originates from a set of paintings depicting my childhood memories of living and playing among the classical gardens and rock formations of my hometown, presented in a Calvino-esque style. Using an “invisible” approach, it stretches and pieces together fragmented images and layered memories across time and space. In the second phase of creation, the artist digitized the artworks and subjected them to a new form of observation—through the computer’s lens. Unlike the human mind, the computer can only process information within the limits of its “worldview.” Attempting to decode the paintings pushes the computer beyond its capacity to understand, resulting in garbled images—forms unintelligible to humans. Yet, we, as observers, once again engage with the disrupted traces of human sentiment, affected by this stream of data. Thus, a new, endlessly mirroring relationship emerges between the observer and the object, endlessly iterating upon itself.