桃源 Orientopia? -湯海青? 2025? 數(shù)字影像

—— 電子托夢(mèng)與賽博靈媒共謀的一場(chǎng)精神返鄉(xiāng)

桃源，數(shù)字鄉(xiāng)愁中的東方烏托邦，該系列像是被雙手握著一根絲線，一端系著故鄉(xiāng)的久遠(yuǎn)傳說(shuō)，一端連著賽博世界的數(shù)字脈沖。也是藝術(shù)家湯海青以賽博靈媒身份與AI共創(chuàng)的神秘?cái)⑹聢?chǎng)。在數(shù)字世界構(gòu)建的圖景里，湯海青與AI拆解重組記憶中深埋心底的精神原鄉(xiāng)，傳統(tǒng)山水的朦朧意境，與賽博空間的數(shù)據(jù)碎片碰撞，催生出既熟悉又陌生的神秘圖景。扁舟在畫面中若隱若現(xiàn)在數(shù)據(jù)構(gòu)成的“桃花林”穿梭，似在尋找又似在迷失。這種矛盾，恰是賽博鄉(xiāng)愁的注腳——既眷戀故鄉(xiāng)的溫度卻又被賽博世界拉扯，在這間隙中是我們無(wú)處安放的對(duì)真實(shí)與虛幻、過(guò)去與未來(lái)的復(fù)雜情思 。

The Orientopia series is like a silk thread held in both hands. One end is tied to the age - old legends of the hometown, and the other end is connected to the digital pulses of the cyber world. It is also a mysterious narrative field co - created by artist Tang Haiqing and AI, with Tang acting as a cyber medium. In the vision constructed in the digital world, Tang Haiqing and AI disassemble and reorganize the spiritual homeland deeply buried in memory. The hazy artistic conception of traditional landscapes collides with the data fragments of the cyber space, giving birth to a mysterious picture that is both familiar and unfamiliar. A small boat looms in the picture, shuttling through the “peach blossom forest” composed of data, seemingly searching and seemingly lost. This contradiction is precisely the footnote of cyber nostalgia —— yearning for the warmth of the hometown, yet being pulled by the cyber world. In this gap lie our complicated sentiments towards reality and illusion, past and future, which have nowhere to be placed.