“Humanity originates from a defective genesis; we enter the world devoid of possessions.” — Bernard Stiegler Echoing the wisdom of ancient Greece, Plato, through the voice of Protagoras, narrated a myth where Prometheus, in an act of defiance, bestowed upon humans the arts and the gift of fire to sustain their existence, rectifying the oversight of Epimetheus. This boon from Prometheus was not just a gift but a proclamation: humans must rely on external prosthetics, which is to say, technology. It is a tale that speaks to the intrinsic coexistence of humans and technology. In this series, artist Wang Yuyang delves into the intricate dynamics between humanity and their artificial constructs. In our contemporary age, numerous inventions have silently revolutionized daily life—consider the mobile phone, a prosthetic that has reshaped our understanding of time and the conveyance of information. These transformations, though not of our direct making, are the forces that continually sculpt our customs. At the dawn of his artistic endeavor, Wang Yuyang recognized our growing accommodation to living in tandem with artificial entities, not merely as agents of change but as part of an interdependent ecosystem. Acting on this insight, he initiated the creation with a painting, which a machine then scanned and interpreted to continue the work, printing it, and then he would add his own brushstrokes, in a cycle that continued until either he or the machine elected to cease. The resulting artwork, composed of five layers of acrylic, each accentuates the theme of bifurcation, presented in parallel to underscore the concept. The artificial creation, in its poetic genesis, becomes a work that, through its interplay, interaction, and even a sense of mutual resonance with humanity, prompts a reflection on the decay and closure inherent in all artificial states. 共生系列

2018至今

“人类的起源就是缺陷性起源，生来一无所有。”——贝尔纳•斯蒂格勒（Bernard Stiegler） 柏拉图曾借普罗泰戈拉之口转述过一则希腊神话故事：为了让生来便一无所有的人类在世间得以生存，普罗米修斯偷取技艺、盗取火种，把它们当做礼物送给人类，为了弥补埃庇米修斯的失误，普罗米修斯送给人类的礼物便是“必须要借助外在的代具而存在，这种代具就是技术。”人和技术本身就是一种共存关系。 艺术家王郁洋这一系列的作品初衷也是探讨人与人造物之间的关系。在当今时代，人类发明了许多东西，它们悄无声息地改变了日常生活，如手机这一“代具”/“义肢”改变了我们对时间、对信息沟通的认知。这些变化并非我们直接创造，却在不断地改变着我们的习惯。在创作之处，王郁洋已然意识到我们已逐渐习惯了与这些人造物共存，而非单方面的改变与被改变。基于此观察，他先画了一幅画，然后由机器扫描并读取数据后继续创作，直至打印出来后，他再在此基础上添加画笔，如此反复，直到他与机器中的任何一方决定停止。这件作品由五层亚克力组成，每一层的展示都在突出“分枝”（bifurcation）的概念，最终以并列的方式进行展示。人造物进行诗意地“生产”，它成了作品，在和人的博弈、互动、甚至惺惺相惜中，开启了在一切人造状态里趋于枯萎和封闭的东西。

“Humanity originates from a defective genesis; we enter the world devoid of possessions.” — Bernard Stiegler Echoing the wisdom of ancient Greece, Plato, through the voice of Protagoras, narrated a myth where Prometheus, in an act of defiance, bestowed upon humans the arts and the gift of fire to sustain their existence, rectifying the oversight of Epimetheus. This boon from Prometheus was not just a gift but a proclamation: humans must rely on external prosthetics, which is to say, technology. It is a tale that speaks to the intrinsic coexistence of humans and technology. In this series, artist Wang Yuyang delves into the intricate dynamics between humanity and their artificial constructs. In our contemporary age, numerous inventions have silently revolutionized daily life—consider the mobile phone, a prosthetic that has reshaped our understanding of time and the conveyance of information. These transformations, though not of our direct making, are the forces that continually sculpt our customs. At the dawn of his artistic endeavor, Wang Yuyang recognized our growing accommodation to living in tandem with artificial entities, not merely as agents of change but as part of an interdependent ecosystem. Acting on this insight, he initiated the creation with a painting, which a machine then scanned and interpreted to continue the work, printing it, and then he would add his own brushstrokes, in a cycle that continued until either he or the machine elected to cease. The resulting artwork, composed of five layers of acrylic, each accentuates the theme of bifurcation, presented in parallel to underscore the concept. The artificial creation, in its poetic genesis, becomes a work that, through its interplay, interaction, and even a sense of mutual resonance with humanity, prompts a reflection on the decay and closure inherent in all artificial states. 共生系列

食草动物
类型：绘画
材料：树脂、丙烯、数码微喷
尺寸：长123cmx宽93cm