展望：坍縮的幾何學
ZHAN Wang：Collapsed Geometry
誠品畫廊北京將於 2025 年 9 月 6 日至 12 月 28 日推出展望個展「坍縮的幾何學」，集中呈現近二十件最新力作。在長期對於自然、科學與藝術之間辯證思考的基礎上，展望試圖重新拆解「歐幾里得幾何學」與早期作品遵循「假造的自然哲學」之間的關係，提煉出幾何切、拓印、重構等交互作用的藝術語彙，創造出一系列嶄新的雕塑作品。
展望藉助坍縮的概念指代一種自我認知顯化的狀態——世界本無確定形狀，是觀察與思維的疊加讓其顯現出具體輪廓；而幾何不只是視覺形態，更是理性思想在現實中的投射。早在 2009 年的作品《雙系統》中，藝術家已經開始藉助幾何作為媒介，探討認識世界本質的方法。《坍縮的幾何學》（2019-2024 年）進一步深化了創作思路，通過計算流體力學模擬火山熔岩的流動環境，將幾何體投入其中，又以影像方式呈現出幾何體消融狀態的動態過程，雕塑作品則是選取其中仍保有幾何形狀的形變瞬間，用火山石作為材料將此數據雕刻出來。
Drawing on the concept of "collapse", ZHAN Wang refers to a state of self-awareness manifestation—the idea that the world has no definite form, and that it is the superimposition of observation and thought that reveals the world's real shape. Geometry is not only a visual form, but also the projection of rational thought in reality. As early as 2009, in his Dual System, the artist began to explore ways of understanding the essence of the world through the medium of geometry. His creative concept was deepened in Collapsed Geometry (2019-2024), where he used computational fluid dynamics to simulate the flow of volcanic lava. He immersed geometric forms in this environment and, through dynamic simulations, captured how they dissolved in visual form. For his sculptures, he selected several moments of deformation when the objects still had their shapes and carved the data out on volcanic rocks.
於展望而言，標準幾何形體在自然中並不存在。太湖石代表東方文化中關於自然精神的想像，幾何則象徵西方哲學中的理性與秩序，兩種符號在創作中並置交融，探索新的認識世界本質的方法。作品《想有個洞》（2025 年）中，展望延續了不鏽鋼「假山石」作品的基本雕塑語言，並引入幾何構造觀念。他以太湖石為原型，用不鏽鋼進行拓印後，主觀設想一個幾何學中的標準圓柱體穿越太湖石內部，與太湖石天然洞穴形成強烈對比。圓柱體在現實中並未真實存在，卻彷彿是一道與自然相對的力量，在金屬表面留下了穿行的痕跡。這一思路亦延伸至展望的多件新作，《內方》（2025 年）、《十字圓切》（2025 年）、《雙向圓切》（2025 年）、《多向圓切》（2025 年）等均有體現。
For ZHAN Wang, standard geometric forms do not exist in nature. Taihu stones represent the imagination of the natural spirit in eastern cultures, while geometry symbolizes rationality and order in western philosophy. By juxtaposing and blending these two symbols, he is also searching for new ways to understand the nature of the world. In Let There Be A Tunnel (2025), ZHAN Wang continues his basic sculptural language of "scholar's rocks" made of stainless steel and introduces the concept of geometric construction. Using a Taihu stone as a prototype, he molded stainless steel sheets around them and imagined in his mind a standard cylindrical shape passing through the interior of the stone, forming a stark contrast with the natural cavities in it. The cylinder does not exist in reality, yet it seems to have left a trace on the metal's surface, as if it were a great force against nature. A common thread running through many of his recent works, this concept can been found in Inner Square (2025), Cross-sectioned Circle (2025), Bi-sectioned Circle (2025), and Multi-directional Circle Section (2025).
在持續的創作與思考中，展望整理出「十個藝術公理」試圖以簡明的句式歸納其藝術觀念。《無限之外》（2021 年至今）系列與《粒子的樣》（2022 年）系列，均受到無限分割概念的啟發，將已經拓制好的石頭再進行切割、封口、組合，模塊之間按大小順序焊接成無限延伸的塔狀，如「十個藝術公理」其中的一條所說——「對半切, 止於無限延伸之外」。
Through continuous creation and contemplation, ZHAN Wang has formulated "ten artistic axioms" that encapsulate his artistic concepts. His series "Beyond Infinity" (2021-ongoing) and "Form of Particles" (2022) are both inspired by the concept of infinite divisions, where he cut, sealed, and assembled the stainless steel casings that had taken the shapes of natural stones. The modular components were then welded in order of size to form an infinitely extending structure. As one of the ten artistic axioms states, "Bisections stop outside of infinity."
在《幻影》（2025 年）中，藝術家懸掛一件不鏽鋼拓制石頭擋住「光」，隨後把原石敲碎，並堆疊在這件假石頭形成的投影形狀中。真實與複製、光影與本體，在作品中彼此交匯融合，展望稱這是一種「彼此重合的真假互換， 其量相等」。
In Phantom (2025), he suspended a stainless-steel rock to block a beam of "light," then shattered the original stone and stacked the pieces in the shadow of the faux rock. In this sculpture, the line between what is real and what is replicated is blurred. Here, light, shadow and the original body all converge into one another, which is, as the artist puts it, "A reciprocal transposition of real and fake yields equal volume."
藝術史學家及批評家高名潞把展望在“坍縮的幾何學”中所更新的方法論稱為“物覺”或者“物啟”（Innermaterial Enlightenment）: “展望游離於現代的神啟和極少的純物之間，這就是‘物啟’。物啟不僅僅是物和物（比如不鏽鋼和石頭）之間的互相啟發，同時也是展望與物之間的對悟。他與石頭和不鏽鋼打了三十年的交道，對它們的脾氣秉性瞭如指掌。他專注於兩種物質之間的纏鬥，成就了眾多作品。現在，他要喚醒不鏽鋼和石頭的造型天才，走出一條‘無規矩也要成方圓’（坍縮的幾何）的新路。”*
*摘自 高名潞，《從‘物仿’到‘物啟’——談展望的新作〈坍縮的幾何學〉》，2025
Art historian and critic GAO Minglu describes ZHAN Wang's updated methodology in Collapsed Geometry as "Innermaterial Enlightenment": "ZHAN Wang drifts between modern revelation and rare material purity, which is what innermaterial enlightenment means. This idea encompasses not only the mutual inspiration between materials (such as stainless steel and stone) but also the meditative dialog between the artist and these materials. Having worked with stone and stainless steel for three decades, he is intimately acquainted with their temperaments and character. His focus on the entanglement between these two substances has given rise to a variety of artworks. Now, he seeks to awaken the sculptural genius of them, forging a new path where 'form can still be achieved even in the absence of rules or standards' (collapsed geometry)."*
*Written by GAO Minglu，From ‘Intermaterial Entanglement’ to ‘Innermaterial Enlightenment’: On ZHAN Wang’s Recent Work ‘Collapsed Geometry’, 2025
