MAGICIAN SPACE 魔金石空间

Humans, together with other living beings and non-living entities, including technology, form interconnected networks that collectively constitute nature. Technology can give the impression that humans are becoming increasingly distanced from nature; yet, when we examine technological systems more closely, we begin to see how deeply they depend on natural processes.

His painting operates as this process of operating (cultivating) the “folding back to moderateness.” In this sense, it seeks to render visible not only the “folding back” that departs from superficial landscape but also “moderateness” as such. The work penetrates reality’s nonlinear space while making a regression back toward states of “non-intention.”

I don’t want Xiaofang to become something marked by a politicized aesthetic stance. I’d rather it be grounded in realism—working with people from different social classes and backgrounds, and finding practical solutions through the details. It’s not about holding on to some grand ideal of overthrowing anything, but about making gradual progress in the real world. That, to me, is the essence of Xiaofang.

“I like the uncertain, seemingly fragile part of the work, which is a critical “

While humans use technology and tools to control nature and dispel loneliness, in doing so we may imprison ourselves within the very systems we build. In the industrial-scale breeding systems of betta fish, emotion and power intertwine. Yeung questions: are we the ones loving and breeding, or merely agents of the system doing so?