《都市山水》系列
源自我对传统山水画美学基因的再解构，也来自我自身的人生轨迹。作为出生于八十年代、成长于城市化加速 期的一代，我在十六岁时离开上海前往伦敦求学，第一次在西方文明的秩序、历史与人文光辉中直面世界的多重结构。那段在巨 变年代里跨文化成长的经验，让我深刻意识到：自然、城市与技术并非彼此割裂，而是在不断更新的视觉体系中持续重组。 在这一系列中，我尝试以拓扑学的方式重构当代都市形态。作品标题“Metropolitan Shanshui”将具有交通属性 的“Metro”与蕴含自然哲学的“Shanshui”并置，揭示信息时代空间组织的新本质。传统山水中的山川脉络被转换为轨道交 通、光纤网络、水电管线等潜伏于城市深层的基础设施，它们如同新的地理结构，塑造着个体的行动路径与精神感受。 视觉上，我运用超现实拼贴：HTTP符号、CCTV监控眼与巴洛克纹样交叠；透明信息半球与数字代码漂浮在现代天际线之上。 这种经人为制造的冲突既延续了山水画“可游可居”的观照传统，也构筑出批判性的符号矩阵——历史纹样的层积指向文化记 忆，而跳跃的数据流指向被算法重塑的时间经验。 最终，《都市山水》呈现的是一个不断生成的分形界面：观众在看似无序的图像片段中辨识出由每个人共同编织的都市神经网 络。将传统山水的“卧游”转化为数字时代的“界面漫游”，正是我作为跨文化成长的艺术实践者，对文明如何从自然地理迈向 数字拓扑的一次持续提问与回应。
Metropolitan Shanshui emerges from both an aesthetic inquiry into the genetic structure of traditional Chinese landscape painting and my own trajectory of growing up amid accelerating urbanization. Born in the 1980s and moving from Shanghai to London at the age of sixteen, I encountered Western civilization at a moment of rapid global transformation. That early, cross-cultural exposure to shifting visual systems and humanistic traditions taught me that nature, the city, and technology are never isolated domains—they continually reorganize one another. In this series, I approach the contemporary metropolis through a topological reconstruction. The title Metropolitan Shanshui juxtaposes the infrastructural connotations of “Metro” with the philosophical depth of “Shanshui,” revealing the underlying logic of spatial organization in the information era. The natural arteries of classical landscape painting are retranslated into metro lines, fiber-optic networks, and water-power pipelines—those invisible infrastructures that function as the contemporary equivalent of ancient mountain-water systems and quietly shape daily human trajectories. Visually, the works adopt a surrealist collage language: HTTP symbols and CCTV ocular icons are embedded within baroque motifs; translucent data hemispheres and floating code fragments drift across the skyline. These deliberately engineered frictions extend the contemplative tradition of youjing—the “wandering and dwelling” space of shanshui—while establishing a matrix for critical reading. Architectural ornament evokes layered cultural memory, whereas flickering data streams point toward a temporality reconfigured by digitalization. Ultimately, Metropolitan Shanshui proposes a dynamic fractal system in which each viewer discerns the urban neural network woven collectively through individual behaviors. By translating the classical notion of “reclining travel” into the digital condition of “interface roaming,” the series redefines the narrative grammar of urban space and reflects my ongoing inquiry—rooted in a life lived between cultures—into how civilization shifts from natural geography to digital topology
源自我对传统山水画美学基因的再解构，也来自我自身的人生轨迹。作为出生于八十年代、成长于城市化加速 期的一代，我在十六岁时离开上海前往伦敦求学，第一次在西方文明的秩序、历史与人文光辉中直面世界的多重结构。那段在巨 变年代里跨文化成长的经验，让我深刻意识到：自然、城市与技术并非彼此割裂，而是在不断更新的视觉体系中持续重组。 在这一系列中，我尝试以拓扑学的方式重构当代都市形态。作品标题“Metropolitan Shanshui”将具有交通属性 的“Metro”与蕴含自然哲学的“Shanshui”并置，揭示信息时代空间组织的新本质。传统山水中的山川脉络被转换为轨道交 通、光纤网络、水电管线等潜伏于城市深层的基础设施，它们如同新的地理结构，塑造着个体的行动路径与精神感受。 视觉上，我运用超现实拼贴：HTTP符号、CCTV监控眼与巴洛克纹样交叠；透明信息半球与数字代码漂浮在现代天际线之上。 这种经人为制造的冲突既延续了山水画“可游可居”的观照传统，也构筑出批判性的符号矩阵——历史纹样的层积指向文化记 忆，而跳跃的数据流指向被算法重塑的时间经验。 最终，《都市山水》呈现的是一个不断生成的分形界面：观众在看似无序的图像片段中辨识出由每个人共同编织的都市神经网 络。将传统山水的“卧游”转化为数字时代的“界面漫游”，正是我作为跨文化成长的艺术实践者，对文明如何从自然地理迈向 数字拓扑的一次持续提问与回应。
Metropolitan Shanshui emerges from both an aesthetic inquiry into the genetic structure of traditional Chinese landscape painting and my own trajectory of growing up amid accelerating urbanization. Born in the 1980s and moving from Shanghai to London at the age of sixteen, I encountered Western civilization at a moment of rapid global transformation. That early, cross-cultural exposure to shifting visual systems and humanistic traditions taught me that nature, the city, and technology are never isolated domains—they continually reorganize one another. In this series, I approach the contemporary metropolis through a topological reconstruction. The title Metropolitan Shanshui juxtaposes the infrastructural connotations of “Metro” with the philosophical depth of “Shanshui,” revealing the underlying logic of spatial organization in the information era. The natural arteries of classical landscape painting are retranslated into metro lines, fiber-optic networks, and water-power pipelines—those invisible infrastructures that function as the contemporary equivalent of ancient mountain-water systems and quietly shape daily human trajectories. Visually, the works adopt a surrealist collage language: HTTP symbols and CCTV ocular icons are embedded within baroque motifs; translucent data hemispheres and floating code fragments drift across the skyline. These deliberately engineered frictions extend the contemplative tradition of youjing—the “wandering and dwelling” space of shanshui—while establishing a matrix for critical reading. Architectural ornament evokes layered cultural memory, whereas flickering data streams point toward a temporality reconfigured by digitalization. Ultimately, Metropolitan Shanshui proposes a dynamic fractal system in which each viewer discerns the urban neural network woven collectively through individual behaviors. By translating the classical notion of “reclining travel” into the digital condition of “interface roaming,” the series redefines the narrative grammar of urban space and reflects my ongoing inquiry—rooted in a life lived between cultures—into how civilization shifts from natural geography to digital topology