The coded specimen

《编码的切片》

The Coded Specimen series extends my ongoing investigation into how painterliness is generated within a post-contemporary context. I attempt to release painting from the confines of the traditional two-dimensional plane, allowing it to acquire a new ontological mode of becoming within space, rather than remaining a continuation of pictorial representation.
The Coded Specimen series constructs a microcosmic landscape of a post-human civilization. The transparent acrylic structures resemble specimen cases of future archaeology, preserving urban memories undergoing digital mutation. The moment at which resin solidifies functions both as a freezing of time and as a metaphor for a civilizational condition: geometric images of architecture intersect and overlap within the transparent medium, as if reality were engaged in an ongoing dialogue with its digital twin. These installation-based pictorial configurations no longer pursue the order of planar composition; instead, they generate a new visual logic within fragmented spatial conditions.
I tend to regard these works as synchronic entities situated between the living past and the living future. The humanist order initiated by the Renaissance—rationality, proportion, and anthropocentrism—has today been folded into the algorithmic and data-driven order of technological civilization. The living past has not vanished; rather, it re-emerges as digital relics, visual algorithms, and fragments of memory, re-embedded within the living future as a mode of ongoing generation. Within these transparent media, the two states interpenetrate and dissolve into one another, forming a non-linear temporal structure in which history is no longer an endpoint of the past, but raw material for the future.
Within the works, heterogeneous materials—luminous spheres and rebar structures, metallic dust and QR codes, silk threads and glass granules—form a visually coexistent state of multiple systems. They simultaneously simulate the mechanical texture of the city and allude to the recoding of natural laws. The infiltration of digital stickers operates like a genetic mutation, while “nano-clouds” composed of metallic particles drift among architectural forms. Together, these hybrid elements perform an ecosystem in which technology evolves as a self-generative force.
Formally, I seek to create tension between the decorative surface of the works and their underlying systemic critique. Symbols such as barcodes and QR codes, once emblematic of efficiency and order, have become alienated into visual noise through excessive proliferation, reflecting the condition of information overload that defines our present. The fragmented mode of display echoes contemporary experiences of cognitive rupture—we no longer perceive coherent narratives, but instead continuously leap between fragments, assembling provisional meanings.
What concerns me is not a romanticized celebration of technology, but how materials continue to generate their own ontological language within these new systems. As material logic and data logic permeate one another, as steel and concrete begin to carry flows of information, these preserved moments become a redefinition of being. At a time when the boundary between human and machine grows increasingly indistinct, I hope the works can summon a renewed visual humanism—neither nostalgic retrospection nor blind futurism, but a way of re-examining the core of humanity at the intersection of the living past and the living future.
Thus, The Coded Specimen is both a lucid observation on the destiny of civilization and a poetic experiment in how artistic language may continue to generate itself.

The coded specimen《编码的切片》这个系列延续了我对“绘画性”在后当代语境中生成方式的探讨——我试图将绘画从传统二维平面中释放出来，使其在空间中获得新的本体性生成，而非仅作为图像再现的延续。

《编码的标本》系列构建了一个关于“后人类文明”的微观宇宙景观。透明亚克力框体如同未来考古学的标本箱，封存着正在经历数字嬗变的城市记忆。树脂凝固的瞬间既是时间的定格，也是一种文明状态的隐喻——建筑几何的影像在透明介质中交错重叠，仿佛现实正在与它的数字孪生体持续对话。这些装置式画面不再追求平面构图的秩序，而是在碎片化的空间中生成新的视觉逻辑。

我倾向于把这些作品视为“living past 与 living future”的共时体。文艺复兴所开启的人文秩序——理性、比例与人中心主义——在今日的技术文明中被重新折叠进算法与数据的秩序之中。过去的“活的历史”（living past）并未消失，而是以数字遗迹、视觉算法和记忆碎片的形式，被重新嵌入未来的“活的生成”（living future）中。两者在这些透明的媒介里叠化、互渗，形成了一种非线性的时间结构——历史不再是过去的终结，而是未来的素材。

作品中的闪光球体与钢筋结构、金属粉尘与二维码、丝线与玻璃颗粒等异质材料，在视觉上形成多重系统的共栖状态。它们既模拟了城市的机械肌理，也暗示着自然法则的再编码过程。数码贴纸的渗入如同基因突变，金属微粒构成的“纳米云团”游弋于建筑之间，这些混合物共同演绎出一个技术成为进化自身的生态系统。

在形式上，我尝试使作品的装饰性表层与其深层的系统批判形成张力。条形码、二维码等符号曾是效率与秩序的象征，如今在过度增殖中异化为视觉噪点，象征我们所处的信息过载状态。片断化的陈列方式呼应着当下认知的断裂经验——我们不再感知整体叙事，而是在碎片间不断跳跃、重组。

我关心的并非对技术的浪漫化赞颂，而是材料在这种新系统中如何继续生成其本体语言。当物质逻辑与数据逻辑相互渗透，当钢筋水泥开始承载信息流，这些被封存的瞬间成为对“存在”的一次再定义。在人机边界愈发模糊的时刻，我希望作品能召唤出一种新的视觉人文精神：它不是回望过去的怀旧，也不是盲目的未来崇拜，而是一种在 living past 与 living future 的交汇处，重新探寻人性核心的方式。

因此，《编码的切片》既是一个关于文明宿命的冷静观察，也是一次关于艺术语言如何继续生成的诗性实验。

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