Only the Switchable Exists (2025)
UV-cured ink on anodized aluminum,
partially flame-oxidized copper and brass (iridescent surface), black mirror panel
60 x 90 cm, Edition of 1 + 1AP
The work draws on the checkerboard pattern used in the PNG format to indicate transparency. This pattern does not appear in the final image itself, but exists within software interfaces as a visual convention for displaying transparent information. The checkerboard is progressively reduced in scale, repeated and layered, producing a visual field that appears to contract inward. As the eye moves through this constructed depth, it is drawn towards a black mirrored surface and a fire-treated copper plate at the centre of the work. The mirror continually reflects the surrounding space and the viewer's presence, while the copper retains the colour shifts and oxidation produced through controlled burning, allowing the material to register its own process of transformation.
Once removed from the software interface and translated into physical form, a visual convention that ordinarily supports the production of digital images becomes the subject of viewing itself. Processes of duplication, replacement and revision that belong to digital systems are brought into relation with the irreversible transformations of the material surface. Rather than presenting a digital image, the work gives material presence to one of the conditions through which digital images become visible, shifting attention from the image itself to the structures that make its appearance possible.
《只有可转换的才存在》 取用了 PNG 格式中用于表示透明区域的棋盘格。这一图案通常不会出现在最终图像中，而是在软件环境中作为透明信息的显示方式存在，帮助图像被编辑、识别与组织。作品将这一显示规则不断缩小、复制与叠加，使原本作为背景存在的界面逐渐成为观看本身。重复的棋盘格在平面上形成持续向内收缩的视觉空间，视线不断进入图像内部，并最终汇聚于中心的黑色镜面与烧灼后的铜板。镜面映照着周围空间与观众的身体，铜板则记录下火焰作用后留下的颜色变化与氧化痕迹，使数字生成的视觉结构与材料的物理变化在同一空间中相遇。
当一种原本服务于图像生成的显示规则脱离软件环境，并进入物质空间，它不再只是数字系统中的辅助界面，而成为观看的对象。作品并未再现数字图像，而是将支撑数字图像生成的条件转化为一种可以被感知的物质结构。观看也因此从图像本身，转向那些通常隐没于图像背后的规则、媒介与显示机制。