ART WOKRS
个人创作项目
作品《界身》涉及了物质、文化与技术三种身体概念如何在交织与渗透中相互作用，并在这一复杂动态关系中塑造个体的身体经验。
物质身体作为生物性存在的基础，构成了感知世界的起点。它不仅是“原始存在”，更是在科技与社会变化中的不断演变，承载着感官反馈与生物调节文化身体通过语言、性别、社会规范等机制，塑造感知与身份，影响我们与世界的互动。文化通过符号和仪式内化自我认知，也在行为、情感和社会角色上影响身体经验;技术身体则是信息密度最高、最具渗透力的概念，数字技术和算法重构身体的存在方式，正在重新定向我们对世界的知觉。
作品将物质性、文化性与数字性三种身体状态联系在一起，试图回归个体日常的最简单身体经验。它并非回避技术或文化过程，而是提出在这些不断重构的身体经验中，个体如何“存续”的问题。
概念：刘皓帆
视觉：刘皓帆，李章程
音乐：粟浚洆
UFOTerminal 加载.计划支持创作，© UFO Terminal 未知终端 @UFO Terminal 未知终端
展期：2025.4.29-5.18
地点：UFO未知终端上海西岸油罐艺术公园一号罐
The work ‘Boundary Of Body’ deals with how the three concepts of the body - materiality, culture and technology - interact with each other in intertwining and permeating, and shape the individual's bodily experience in this complex dynamic relationship.
The work links the three bodily states of materiality, culture and digitality in an attempt to return to the simplest of the individual's everyday bodily experiences. It does not avoid technological or cultural processes, but raises the question of how the individual ‘survives’ in these constantly reconstructed bodily experiences.
Concept: Liu Haofan
Visual: Liu Haofan, Zhangcheng Li
Audio: Balfours
Creation Support by UFo Terminal Loading...Project
Exhibition Period: 2025.4.29-5.18
Venue: UFO Terminal Shanghai West Coast Tank Art Park Tank 1
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这个系列的作品主要是关于边界这个概念的一些思考，而这些思考的源头始于疫情，在那个特殊时期的巨大变化中，我们不可避免的受到很多不可抗力的影响，这时常会让自己陷入一种困境，每当站在房间的窗台看向外部的世界的时候，一种限制的感觉油然而生，这种边界感不仅源自空间的局限，更来源于一种不确定性，和一种碎片化原子化生活的割裂感，因而想通过这几件作品来探讨这些不同维度的边界问题。
This series of works primarily reflects on the concept of boundaries. The inspiration for these thoughts originated during the Covid-time, a period of significant change that inevitably exposed us to various forces beyond our control. This often places us in predicaments. Whenever I stand at the window sill and gaze at the outside world, a sense of limitation arises. This perception of boundaries stems not only from physical limitations but also from uncertainty and the fragmentation of an atomized life. Therefore, I aim to explore these different dimensions of boundaries through my works.
03-Sound For All-2022
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作品从少数民族特有的声音、纹样和特质出发，去思考当下我们生活中的境况。也从他们的文化和生活出发，来探索个体与自然的连接。声音在其中作为一个媒介，形成了一个一生多的关系，这个声音既是声音本身也是所指代的他们的文化和生活，更是象征万物自然的状态，从而形成一个声生万物的概念。
The work begins with the unique sounds, patterns, and characteristics of ethnic minorities to reflect on our current living conditions. It also explores the connection between individuals and nature through their culture and way of life. In this context, sound serves as a medium, creating a multifaceted relationship. This sound is not only an auditory experience but also represents their culture and lifestyle, symbolizing the state of all things in nature. Thus, it forms the concept of "sound giving birth to all things."
04-Harvard CAMLab-2021
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参与了洛阳·幻城和应县木塔的沉浸式展览项目，基于哈佛中国艺术实验室对中国传统艺术的学术研究成果，通过数字化的方式再现中国传统的文化遗产。
Participated in the immersive exhibition projects at Luoyang Fantasy City and the Yingxian Pagoda,based on the Harvard CAMLab’s academic research outcomes of Chinese Traditional Art, The aim is to digitally reproduce China's traditional cultural heritage.
05-文塔影韵（崇文塔mapping）-2024
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崇文者，厚重也，塔者，象征也。
崇文塔，寓意深远，见证了历史的变迁与文化的传承。作为明代八角十三层楼阁式砖塔，崇文塔屹立于泾河北岸，承载着古老的信仰与智慧。其境内遗址星罗棋布，诉说着辉煌的过往与深厚的文化底蕴。此次作品旨在“探寻历史的回响，重塑文化的脊梁”，采用30 Mapping(光投影)技术，以崇文塔为核心，通过生动的视觉展示，呈现其在清同治元年(1862年)焚烧后的重生故事。作品将历史与现代技术相结合，传递出崇文塔不屈的精神与传统文化的延续，让观众在光影间感受到这座古塔的生命力与历史的深度。
Chongwen Pagoda, with its profound significance, has witnessed the changes in history and cultural heritage. This octagonal, thirteen-storey pavilion-style brick tower from the Ming Dynasty stands on the north bank of the Jinghe River, embodying ancient faith and wisdom. The ruins within its vicinity are scattered throughout the area, narrating its glorious past and rich cultural heritage.
The aim of this work is to "explore the echoes of history and reshape the spine of culture" using 3D mapping (light projection) technology, centering on Chongwen Pagoda. It vividly presents the story of its rebirth after it burned down in 1862, the first year of the Tongzhi period in the Qing Dynasty. By combining history with modern technology, the work conveys the unyielding spirit of Chongwen Pagoda and the continuation of traditional culture, allowing the audience to experience the vitality and historical depth of this ancient tower through light and shadow.
06-Swatch Blossoms Time-2025
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What is Beauty
作品根据swatch艺术中心的blossom time展览的主题衍生而来，关于花的呈现
花总是代表美的含义
什么是美丽？
物理上：点、线、面
精神上：文化、思想
但或许美更多是关于生活的细节和自我的接纳
Flowers always contain the meaning of beauty
what is beautiful？
physical :point line volume
spiritual:culture mind
Perhaps beauty exists in the details of everyone's life
07-景德镇御窑博物馆艺术驻留项目-2022
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所谓一瓷一世界，《“瓷”流》用数字影像拓展了青花的艺术表现媒介，为观众展现出瓷器宏观与微观之间的联系。作品分为三个篇章第一篇章将青花器皿转化为流动的粒子，跟随音乐的韵律波动、弥漫，直至消散!第二篇章进入到瓷器微观世界，游走的粒子幻化为闪烁的结晶体，带领观众一探瓷内万象宇宙:第三篇章，艺术家将视野跳脱出青花瓷器的物质载体，转而关注瓷器与人的故事，思考瓷作为一种媒介所承载的个体智慧与历史记忆。
The phrase"one porcelain, oneworld" encapsulates the essence ofPorcelain Flow,which expand sartistic of the expression blue-and-white porcelain throughdigital imagery, showcasing theconnection between the macro andaspects of ceramics. TheMicrowork is divided into three chapters.
In the first chapter, blue-and-whitevessels are transformed into flowing particles that dance and diffusein rhythm with the music, eventualy dissipating. The second chapter delves into the microscopic worldof porcelain, where the wanderingparticles transform into shimmering crystals, guiding the audienceto explore the vast universe within the porcelain.
In the third chapter, the artist shiftsfocusaway from the physicalmedium of blue-and-white porcelain to concentrate on the stories between porcelain and people,contemplating the individual wisdom and historical memory that porcelain as a medium carries.
08-Emotions And Feelings-2021
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作品来源于对感受的真实和虚假之间关系的思考。特殊时间段带来的物理空间的距离，以及日渐虑拟化的社会交往媒介，让我们对生活的感知从此刻、当下、触手可及逐渐转问为对远方世界的想象。这种想象使情绪的生发不是亲历，而是习得，习得一种远离生活经验以外的被塑造的群体意识——社会热点裹挟着海量的信息和细节挑动着社会情绪，而个体情绪作为其中的一份子，是一种需要被管控的资源。这让我时常陷在一种立场不明和自我怀疑的浪潮之中，一方面，我警醒情绪的产生，担忧其是否受到挑动和引导而落入陷阱，另一方面，也反思是否由于生活经验的匮乏，让我无法对宏大话语更加感同身受。
The work stems from a focus on the phenomenon of emotional distortion. The physical isolation brought about by the pandemic, coupled with the increasingly virtual nature of social interaction, has shifted our perception of life from the immediate, the present, and the tangible to an imagination of distant worlds. This imagination leads to the generation of emotions that are not experienced firsthand but rather learned一acquired from a collective consciousness shaped by experiences outside of our own.
Social hotspots, intertwined with vast amounts of information and details, stir social emotions, while individual emotions, as part of this landscape, become a resource that needs to be managed. This often leaves me caught in a wave ofambiguity and selfdoubt. On one hand, |remain alert to the emergence of emotions, concerned that they may be provoked and guided into traps; on the other hand, | reflect on whether my lack of life experience prevents me from resonating more deeply with grand narratives.
09-Samsara-ksana-2021
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作品的构思源自课程的全球环境问题的讨论，我们构思的立足点是水循环，并由此我们发散了一些有趣的相结合的点，例如，莫比乌斯环咬人的蛇型、波浪的荡漾冰川的融化等都具有某方面的循环特征。进而我们做了一些research和头脑风暴形成思维导图，并由此构想出了我们项目的主题(轮回-刹那）- Samsara -ksana，我们借用了梵文里的轮回为循环的表达方式，在东方的语境中刹那Samsara本身就有轮回的意思，它认为生命会永恒地以不同的表象和形式反复经历生与死。
The concept of the work originates from discussions on global environmental issues in the course. Our starting point is the water cycle,from which we derived some interesting connections, such as the Möbiusstrip, biting serpentine shapes,the rippling of waves,and the melting of glaciers, all of whichexhibit aspects of cyclical characteristics.
Subsequently, we conductedsome research and brainstorming, creating a mind map thatled us to the theme of our project-(Samsara - ksana). We borrowed theconcept of "Samsara - ksana" from Sanskrit as a representation ofthe cycle. In the Eastern context"Samsara - ksana" itself implies reincar-nation, suggesting that life eternallyexperiences birth and death in different forms and manifestations.