展覽時間｜𝟮𝟬𝟮𝟲.𝟰.𝟭（三）－𝟮𝟬𝟮𝟲.𝟲.𝟮𝟭（日）
展覽地點｜𝟮𝟰𝟭藝術空間（新竹市中央路𝟮𝟰𝟭號 巨城旁社福大樓𝟲樓）
開館時間｜𝟭𝟬:𝟬𝟬-𝟭𝟴:𝟬𝟬（週一休館）
策展人｜曾鈺涓
藝術家 | ZHEN-RU & 黑川互動媒體藝術、王克謙、王連晟、何德來、馬聰斌、陳萬仁、陳薈茗、郭展良、張貽菻、張皓甯、黃敏俊、廖家翊
主辦單位｜新竹市政府
承辦單位｜新竹市文化局
策畫執行｜木子立方有限公司
特別感謝｜國立清華大學 科技藝術研究所

At dawn, faint light pierces drifting clouds and slowly cascades along mountain ridges. Sunlight filters through treetops, scattering delicate fragments of illumination across the ground. As evening approaches, trees, lakes, and architecture gradually merge into a tranquil golden glow. When night falls, urban lights awaken like constellations woven across the city skyline, while warm domestic light offers a temporary refuge where body and mind may rest.

These forms of light embedded in everyday life-natural, artificial, and digital-shape the ways in which we perceive the world and structure emotional experience and memory. Natural light flows with time, its subtle shifts in brightness and color influencing human psychology and behavior. Artificial light extends life into the night, illuminating spaces while quietly transforming their atmosphere. Digital light, composed of pixels, signals, and interfaces, allows individuals to move through screens into virtual environments, expanding both perception and action.

Taking “The Future of the Everyday” as its curatorial axis, 241 Art Space responds to the rapid development of technology and the shifting conditions of contemporary perception. The exhibition This Is Light focuses on two key themes: sensory awakening and virtual–real existence. Through light as both medium and concept, the exhibition explores how contemporary individuals experience the world within an increasingly mediated environment.

In conditions saturated by images and information, sensory experience is often reduced to rapid scanning and immediate response. “Sensory awakening” therefore does not imply a return to an original purity of perception; rather, it proposes that art may reopen overlooked layers of sensory awareness, allowing light, shadow, and memory to re-enter embodied experience. Meanwhile, “virtual–real existence” does not frame reality and virtuality as opposites, but instead considers how these states have already become intertwined within contemporary life. Digital light constructs navigable visual environments through signals, interfaces, and algorithms, enabling individuals to extend their presence across multiple layers of reality.

Light has long been central to artistic practice. Through light and shadow, artists construct pictorial space, exploring luminosity, color, and reflection as vehicles for emotional expression. Throughout art history, the role of light has continually evolved—from Renaissance chiaroscuro and Impressionist optical studies to the spiritual luminosity explored in the works of Mark Rothko and Barnett Newman. With the emergence of electric light as an artistic medium, illumination itself became a spatial material. Artists such as Dan Flavin demonstrated how light could transform perception, turning illumination into a sculptural presence within space.

In this exhibition, twelve artists explore light as both medium and subject through painting, moving image, algorithmic systems, kinetic installations, and immersive environments.

Experiments and Reinterpretations of Light

Morning Light and the Opening of Perception

The exhibition begins with landscape painting, initiating a sensory encounter with natural light. Te-Lai Ho (1904–1986) returns viewers to the most fundamental experience of illumination—the subtle relationship between natural light, land, time, and emotion. Through the textures and layered pigments of oil painting, Ho captures the delicate transformations of light across the landscape. As night gradually approaches, natural light recedes, and the exhibition transitions from the sensory experience of nature toward technologically mediated light.

Light Orchestrated by Technology

In Wave: Solar and Temporal Barcode, Hao-Ning Chang constructs a multimedia environment composed of lighting systems, dimming curtains, and sensors. Through programmed control of color temperature and luminosity, the installation simulates a compressed cycle of sunrise and sunset, revealing how technological systems reshape human perception of time.Yi-Lin Chang, in Threshold Spectrum, explores light as a threshold between material structure and digital interference. Through layered surfaces and moiré patterns, light continuously emerges, dissolves, and recomposes itself, becoming not merely a visible phenomenon but a condition that defines perceptual boundaries.Similarly, Chan-Liang Kuo, in Boundary of Motion and Stillness, examines the relationship between energy, rhythm, and environmental fluctuation. Variations in brightness, oscillation, and randomness become visible manifestations of energy in motion.

The Summoning of Dim Light

In Before Dawn Breaks, Hui-Ming Chen presents a perceptual space suspended between technological imagery and spiritual allegory. A solitary bonfire flickers in the foreground while distant ruins glow faintly in the background, forming a visual field that anticipates the arrival of dawn. This fragile light becomes a symbol of endurance and existential reflection.Wan-Jen Chen, in The End of Memory, situates light within a colder digital atmosphere. A pulsating blue glow appears and disappears within a monochromatic architectural space, placing viewers between memory, fiction, and reality.

The Mind Formed in Light

Min-Chun Huang’s works Halo 3 and Light Form 15 merge painting, mixed media, and projection to explore the unity of light and color. Radiant hues and circular structures create layered visual illusions in which distinctions between image and space begin to dissolve.In Between Minds, Chia-Yi Liao transforms artificial light into a psychological architecture. Neon illumination, projected light, and imagined light represent different temporal dimensions—past, present, and future—turning the “room” into a spatial metaphor for mental states. Boundless Chromatic Light by Zhen-Ru & PEPPERCORNS INTERACTIVE MEDIA ART CO.LTD creates an immersive environment where projected color expands and converges like waves. Light becomes both subject and spatial structure, forming an emotional and perceptual landscape in which viewers encounter their own inner reflections.

Light Opening the World of Perception

In First Encounter, Ke-Chien Wang evokes the moment when perception first emerges. Through projected imagery, the work imagines the instant when a fetus perceives light within the womb—a faint glow penetrating the membrane and marking the first encounter between individual and world.Following this initial illumination, Lien-Sheng Wang, in Horizon–Ocean, reflects on contemporary landscape perception shaped by artificial intelligence and collective visual experience. Images of the world intersect and recombine through algorithmic systems, forming an ocean of shared imagery and digital imagination.

Finally, Tsung-Pin Ma’s Mono Lake Aerial Series returns perception to the rhythms of nature. Through aerial perspectives of abstract landscapes, viewers rediscover the slow movements of natural light, geological time, and the textures of the earth.

Taking light as its central theme, the exhibition begins with the sensory experience of morning light in nature, moves through technologically orchestrated illumination and the quiet resonance of dim light in darkness, and ultimately arrives at the convergence of digital imagery and natural landscapes.

Light emerges as a crucial medium connecting nature, technology, the body, emotion, and consciousness. The exhibition therefore proposes not simply a way of seeing light, but a journey of perception guided by light itself.

Through this journey, viewers move from nature to media, from body to mind, from individual awareness to the world. Within this unfolding experience, light continues to shape how we feel, how we understand, and ultimately how we exist.

This is not merely light.

This is Light.

清晨，太陽初升，微明的光穿透雲霧，沿著山脈緩緩灑落；晴空下的白雲被陽光推開，光線穿過林梢，在地面投下細碎光斑。湖泊在陽光照射下呈現深邃的湛藍，光落入水波後被折射成無數閃動的光點；水滴在光的折射中形成彩虹，為天空添上一道童話般的色彩。傍晚時分，樹木、湖面、建築與大地在金黃光芒中逐漸融為一體，柔和而靜謐。夜晚降臨，城市燈光亮起，像繁星般交織成璀璨的都市夜幕；居室中的暖光則瀰漫溫馨，成為人們暫時安放身心的歸處。街燈在夜色中投下柔和的光，陪伴著人們回家，是城市裡安靜而持續的守候。

百貨商店裡的聚光燈彰顯時尚與慾望，舞台上的光與表演共鳴，牽引情感的波動與敘事的節奏；而閃動的數位光訊號，則在介面上以像素、文字與影像的形式不斷跳動，傳遞訊息、情感與知識，成為當代人理解世界、維繫關係，甚至與自我對話的重要媒介。這些存在於日常中的光：自然的、人造的、數位的，構成我們感知世界的基本條件，也在不知不覺中塑造了情緒、記憶與行為模式。

241 藝術空間以「日常的未來」作為策展主軸，回應科技快速推進、社會結構變動與生活感知方式的轉變。本展覽「這就是光 It Is Light」聚焦於其中兩條關鍵子題：感官覺醒與虛實存在，嘗試透過光作為切入點，重新思考人類如何在高度媒介化的環境中，感知自身、辨識世界，並重新定位存在的邊界。在資訊密集、影像過載的生活情境中，感官往往被壓縮為快速掃描與即時回應的機制。「感官覺醒」並非回歸某種純粹或原初的感受，而是透過藝術重新打開被忽略的感知層次，使光影與記憶重新進入身體經驗。「虛實存在」所關注的，並非真實與虛擬的對立，而是兩者在當代生活中早已交錯、滲透的狀態。數位光以訊號、介面與演算法構築出可被進入的影像空間，人們在其中生成分身、延展行動，並逐漸習慣於在多重層次的現實中切換自身位置。這些由科技所生成的光，不僅是視覺表象，更是影響認知、情感與存在感的重要結構。當光從照亮物體的工具，轉變為建構世界的條件時，存在本身也隨之被重新書寫。

這些存在於日常生活中的光：自然的、人造的、數位的，深深影響著我們如何感受世界，也形塑著情緒與記憶。自然光隨著時間流動，透過色彩與明暗變化滋養感官，影響人的心理狀態與行為；當光消失，孤獨與不安也隨之而來。人造光則讓夜晚得以延續生活，不只照亮空間，也悄悄改變氣氛與情緒。數位光則是當代最細緻的一種光，它由像素、訊號與介面構成，讓人們穿越螢幕，進入影像與虛擬空間，延展感知與行動的可能。

光一直是藝術創作中的重要主題。藝術家透過光與影建構畫面世界，研究光的色彩、層次與折射，探索影像如何觸動感受。也有許多創作者直接以光作為材料，讓光不只是照亮物體，而成為作品本身。這樣的創作不只回應新科技的發展，也呈現速度、能量與節奏所帶來的時代感。

在藝術史中，光的角色隨著時代不斷轉變。未來主義藝術家 Giacomo Balla 在《街燈》（1909）中，以強烈的人造光象徵現代科技的來臨。從文藝復興的光影法則、印象派的光學研究，到 Mark Rothko 與 Barnett Newman 透過抽象形式追尋光的精神性，光始終是藝術思考的核心。當電光成為創作媒材後，光不再只是被描繪的對象，而成為塑造空間與感知的主體。Dan Flavin 以霓虹燈管創作，讓光本身成為空間中的存在，重新調整觀者的感官與情緒。

在當代藝術中，光不只是材料，也是一種引發感受與互動的力量。它能引導觀看、塑造情緒，讓影像、聲音與科技交織成新的敘事。當光影在空間中流動，觸及身體與內心時，某些瞬間會出現難以言喻的感受——那是一種超越功能與技術的經驗。光在這些時刻不只是照明，而成為生成感受、意義與存在的場域。

在藝術中，「光」既是建構空間的材料，也是傳遞訊息、啟動感知的引信；它能塑造情緒，引導互動，在影像、聲音、光影與科技之間開啟敘事。「光」提供事件、行為或情感發生的時機與場域，創造作品所需的物質環境與精神密度。當光影穿越空間、觸及身體與心靈時，「神聖光」在某些瞬間悄然湧現。「神聖光」不是自然光的循環，也不是人造光的技術成果，更不同於數位光的訊號跳動，它出現在不可預期的瞬間，在影像被觀看的剎那、在空間光影交錯的沉靜裡、在作品觸及觀者內心深處的微弱震動中，使人意識到光具有超越物質的力量，成為生成感受、意義與存在的場域。

本次展覽邀請十二位藝術家，以光作為媒介、主體與命題，透過繪畫、演算法、動態影像、動力裝置與互動裝置等多元形式，展開對光的感知實驗與再詮釋。

光的感知實驗與再詮釋

晨光與感知的開啟

展覽以風景繪畫開啟光的感知經驗，何德來(1904–1986)的作品首先將觀者帶回光最根本的經驗，自然光與土地、時間、情緒之間的微妙關係。他以眼觀察，以手描繪，透過油畫創造的肌理、色塊與線條，描繪光在自然景致中的細微變化。隨著夜幕降臨，自然光逐漸退場。展覽由自然光的感性經驗過渡至科技對光的編碼、控制與重組。

被技術調度的光

張皓甯的《波浪：太陽與時間條碼》以燈具、調光簾與感測裝置構成複合媒體空間，透過程式控制光源的色溫與明暗，模擬日出至日落的縮時循環，創造出被壓縮、被編排的「個人化時區」，也指出科技如何深度介入日常感知與時間經驗。張貽菻《閾線光譜》則進一步將光推向物質、結構與數位干涉之間的臨界狀態。透過層疊、穿透與摩爾紋，使光在顯現、消失、重組與再生之間流動。光不再只是被看見的現象，而成為感知邊界與存在條件本身，且透過觀眾互動，光也成為調整觀者的感官與情緒的介質。郭展良的《動靜邊界》延續科技光的路徑，但更強調能量、時間與環境之間的節奏性，光的明暗、擺動與隨機性成為能量釋放與消逝的可見形式。光在這裡是一種流動中的秩序，也是一種將靜止與運動、規律與偶然並置的感知機制。

微光的召喚

陳薈茗的《黎明來臨之前》則讓光轉向一種介於科技影像與精神寓言之間的狀態。探討感知經驗、內在情境與存在狀態的疊合，前景孤燃的篝火與遠方廢墟殘光構成一個等待黎明的感知場域。這微弱卻持續的光，不僅是生命意志的顯影，也成為在暗夜之中支撐存在的精神錨點。陳萬仁的《回憶的盡頭》則使光進入更冷冽、去色彩化的數位處境，作品中央建物中，一明一暗的藍光，成為整個灰白空間最顯著的動態核心，光在煙霧與顯影之間反覆出現與隱沒，使觀看被置於記憶、虛構與現實之間的擺盪狀態。

心在光中成形

黃敏俊的作品《光環3》《光形15》以油畫、複合媒材與投影處理光色合一的概念，將創作意念放回光的形狀與光的具象。透過彩虹般的色彩、環狀或浮雕式的畫面結構，觀者在觀看凝視中，難以分辨虛實層次，讓光的色彩、視覺與錯視成為作品的核心。廖家翊《心智之間》則將人造光提升至心理空間與存在模型的層次，以霓虹之光、心理理想之光與投影之光構成現在、未來與過去三種時間向度，並使「房間」不再只是建築，而成為心智狀態與潛在世界的顯影。Zhen-Ru & 黑川互動媒體藝術的《光色無界》，則以更為感性且沉浸的方式展開人造與投影之光。作品中的光如潮水般擴散與匯聚，使空間成為一個由色彩、感知與心靈投影所交織而成的場域，也讓光重新回到溫暖、希望與精神回應的層次。光在此是創作主題，也是時間與存在的組織型態，在觀看中與心智對話創造形成多重可能的心靈空間。

光，打開感知世界

王克謙的《初見》則是一道感知甦醒的起點。作品以投影影像模擬胎兒在母體內初萌視覺的臨界時刻，一道穿透羊膜的微光，是個體與世界的第一次接觸。這道光是一扇被輕輕打開的門，使感官、意識與存在開始朝向外部世界延伸。而順著這道初光，王連晟的《地平線－海洋》則是提醒我們，現在對於世界景觀的理解，是一種連結人工智能、共同感知與身體經驗，光是成為個體感知通往群體意識的通道，世界圖像在演算法中交會、重組，形成一片由資料、網路與集體想像共同生成的影像之海。馬聰斌的《Mono Lake Aerial Series》則讓這片感知之海最終回返自然。透過空中視角的抽象地景，使觀者在高度與距離之中重新感受自然光、地質時間與大地紋理的緩慢流動。這三件作品彼此相連，共同構成一條由個體感知出發，穿越科技媒介，最終回返大地與時間尺度的路徑。

本展以光為題，從晨光中對自然與風景的感受開始，經過技術所編排與調度的光、暗夜中微光所召喚的存在經驗、人造光所形塑的心靈與空間，再到數位影像與自然地景交會而成的感知之海，逐步討論光的多重面貌，是穿越自然、科技、身體、情緒與意識之間的重要媒介。因此，這不只是一次關於光的觀看，而是一場沿著光前行的感知旅程。觀者在其中所經驗到的，是從自然到媒介、從身體到心靈、從個體到世界的層層展開。而光，也正是在這樣的流動之中，持續形塑我們如何感受、如何理解，並如何存在。這不只是光，這就是光。

參考資料：

Barzel, A. (2005). Light: the media and the message, Light Art. Targetti Light Art Collection. Italy: Skira

Dan Flavin: A Retrospective,

Failing, P. , (September 4, 2013) , It’s Not About Light—It Is Light, https://www.artnews.com/art-news/artists/assessing-james-turrell-2284/