The image-generation method centers on mobile 3D scanning. Information printed on paper is first placed into real space, then re-captured through the machine’s scanning perspective. In this process, the boundary between the paper and its surroundings is intentionally shortened: the algorithm absorbs surface textures, light and shadow, depth, and spatial data into the scan, allowing the resulting image to embody both two-dimensional and three-dimensional qualities—occupying a state between the real and the virtual. The final image is not a reproduction of the paper, but a product of interactions among information, space, and algorithm, reflecting how contemporary vision is mediated, reorganized, and interpreted through technology.
This method also responds to the current condition of visual culture. In an increasingly accelerated visual environment, form is often amplified to capture fleeting attention; images are expected to provide instant stimulation rather than carry logical structure or conceptual depth. Novelty, impulsiveness, and surface-level visual production have pushed vision toward a quickly consumable veneer. The choice of this design serves as a reflection on that environment—it does not pursue emotional or sensational impact through form, but instead returns to the logic of visual generation itself: how images come into being, how they are interpreted by machines, how they interact with space, and how they form relational structures.
Accordingly, the visual approach emphasizes multidimensionality and structural perception. Two-dimensional information and three-dimensional traces coexist; the virtual and the real appear simultaneously; direct and indirect modes of observation operate in parallel. Vision is no longer grounded in the observer’s position but emerges as a system formed collectively by technology, space, material, and the act of looking. In this context, space becomes an active component of visual language rather than merely its backdrop, and machine perception becomes a participant in visual production rather than a passive tool.
Through this method, the design seeks to translate “perceptual ecology” into a visual structure rather than a thematic illustration. It demonstrates that vision is not an isolated image but a process co-generated by humans, objects, algorithms, and the environment. Each act of looking participates in constructing the system and continually reshapes the relationship between reality and simulation, between material and information.
Identity / Videos & Motion / Signage Design
Project Title:
Guangzhou Image Triennial 2025
Client:
Guangdong Museum of Art
City:
Guangzhou
Year:
2025
Tian Bo
Designers:
Wu Jingyu, Li Tong, Zhang Haohan
Videos & Motion Designer:
Wu Jingyu, Li Tong, Zhang Haohan
Project Manager:
Wang Man
Dimension:
Various