3rd May 2026 - 7th June 2026
ss space space
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
103.5cm x 151.5cm x 16cm
2026
3rd May 2026 - 7th June 2026
ss space space
sik-tsân
Paper pulp, resin, plaster, and aluminum
Dimension variable
2026
3rd May 2026 - 7th June 2026
ss space space
bū-sik
Acrylic, compressed charcoal, paper pulp,
resin, rice ears, plaster, epoxy resin, wood panel,
fabric fiber, and pencil on paper
(136cm x 170cm x 2.5cm ) x 3 pieces
2026
3rd May 2026 - 7th June 2026
ss space space
liam liam
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
62cm x 119.5cm x 16cm
2026
3rd May 2026 - 7th June 2026
ss space space
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
100cm x 163cm x 16cm
2025-2026
Ban-Yuan Chang’s practice critically examines how everyday perception is overlaid, shaped, and detached amidst the contemporary deluge of information and imagery. Chang seeks to capture how daily visual culture, landscapes, social media, and emotional exchanges construct our perception of spatial environments and objects. Through mixed media—including painting, installation, and sculpture—Chang reassembles and compresses these elements, articulating the viscosity of information overload and a weightlessness of belonging under pervasive sensory latency.
In Chang’s material methodology, Chang bridges the philosophical reflections on material transformation derived from Taiwanese folk beliefs—from prayer (念niàn/human intention) and incineration to ash residue—with the translation of contemporary information remnants. Chang shreds personal and socio-cultural archives that construct our daily landscapes (writings, visual logs, message records, financial reports) into custom paper pulp, serving as a sedimented "fiber of sensibility". Using this as a primary medium, Chang develops spatial paintings and sculptural installations responding to the delayed, condensed everyday condition forged through information overlays.
Rather than merely addressing technological media itself, Chang’s work opens an expansive perceptual realm for the fragmented yet subtly interconnected sensory experiences of modern life—capturing states of drift and trance. By multi-dimensionally stratifying and reassembling personal memories, local textures, and material transformations, Chang aims to generate sustained, resonant dialogues across diverse urban and cultural contexts.
張般源的創作主要關注人在當代資訊與影像洪流中，日常感知如何在此環境下被疊印、形塑與脫鉤。他試圖捕捉日常中的生活影像、景觀、社群平台與情感交流對景觀空間與物件感知的塑造，並透過多媒材（繪畫、裝置/雕塑等）將這些元素進行重組與壓縮，呈現資訊過度堆疊的黏稠、延遲下的歸屬失重感。
在媒材實踐上，張般源將台灣民間信仰中關於祈願（念）、焚化至灰燼殘餘的物質轉換哲學，對應至當代資訊殘存物的轉譯。近年張般源將構築日常景觀的個人與社會性檔案（書寫、日常影像紀錄、對話紀錄、報表等）進行絞碎，自製紙漿作為某種感性纖維的沉積物。以此作為主要的創作介面，發展出具空間性質的繪畫組件與雕塑裝置，回應身處於資訊疊印狀態下充滿延遲感與凝結的日常翻印。
他的作品並非單純回應技術媒介本身，而是對人在當代生活中，那種趨近碎片卻又隱隱相連的感性經驗，其浮動與出神的狀態留下開放的感知空間。張般源期待透過將個體記憶、地方紋理與物質轉換進行多維度的沉積與重組，為不同城市與文化情境間的當代藝術對話帶來持續的回應。
2024 Royal College of Art PhD in Arts & Humanities Research (practice-led)
2017 Subsitute military service at New Taipei City Fire Department Ganyuan Squad
2016 Chelsea College of Arts MA Fine Art
2026 態: Alluvium, ss space space, Taipei, Taiwan
2024 圖 t ⤵u volume 03, Yao space, Taichung, Taiwan
2024 圖 t__u volume 02, 182artspace, Tainan, Taiwan
2023 圖 t u, Helios Gallery, Taipei, Taiwan
2019 The Self, Humans and Machines with their Residues, Taipei Fine Art Museum, Taipei, Taiwan
2017 Meditation From the Empire Legacy, Made in Taiwan zone Young Artist Award,Taipei Art Fair , World Trade Centre, Taipei, Taiwan
2016 The Whisper in Inheritance, RAUM Gallery, London, United Kingdom
2016 From the other side, Punctum Gallery, London, United Kingdom
Group show
2025 Can We All Fit In，Kaohsiung Museum of Fine Art， Kaohsiung，Taiwan
2024 The Gravity of Whisper，182 artspace，Tainan，Taiwan
2024 The Body Boundary of Contemporary Society, Wan Gallery, One Art Taipei, Hotel Metropolitan Premier Taipei, Taipei, Taiwan
2023 Lefties Do it Rights，Sinpin pier Art Space, Kaohsiung,Taiwan
2023 Repetition and Difference: Posthuman．Diverse Species, National Yang Ming Chiao Tung University Art Centre, Hsinchu, Taiwan
2023 HEMLINGBY3, Taipei Artist Village/Carp Gallery, Taipei/Taichung, Taiwan
2022 Roaming in time, Flame Taipei ,Waley Art, Taipei, Taiwan
2022 HEMLINGBY2, Carp Gallery, Taichung, Taiwan
2022 Body's Body, Changhua County Art Museum, Changhua,Taiwan
2022 Multiple Copies - Readable Multiplex Landscape, Tainan Art Museum, Tainan, Taiwan
2021 Enclave, Asparagus Studio, Taipei, Taiwan
2019 RCA The School of Arts and Humanities Work in Progress Show, Royal College of Art, London, United Kingdom
2018 Human Condition, Kuo Mu Sheng Foundation,Taipei,Taiwan
2016 Future Island START ART FAIR Project, Saatchi Gallery,London, United Kingdom
2016 Chelsea Summer Show, Chelsea College of Arts, London, United Kingdom
Huang, Ting-Ju, 2024, ‘ 墜落的鴿子踏上X征途 《張般源個展 圖 Volume02》 ‘, Taishin Artalks (online)
‘Chang, Ban-Yuan, 2023, Thesis, The shamanic condition of becoming posthuman: Being embedded in scattered landscapes PhD thesis, Royal College of Art.
Chang, Ban-Yuan, 'Enclave', in 'Multiple Copies - Readable Multiplex Landscape', ed. by Pei-Hsin Chiang (Tainan, Tainan Art Museum, 2022）ISBN: 978-986-5487-80-5
Chang, Ban-Yuan, 'The Self, Humans and Machines with Their Residues: A brief discussion on our position in today's world and theses three inseparable and entangled bounds' (Taipei, Taipei Fine Art Museum, 2019)。ISBN: 978-986-5412-21-0
隨意聊聊, 隨藝聊聊 EP17 | 靠X唷！你以為你在數位手術台上喔！快加入我們迷霧版圖中寫生的行列吧！｜來賓: 藝術家 張般源 [Podcast] 25th April 2024
觀弱音, EP126 『倫敦藝術沒有地圖』 藝術家張般源 [Podcast] 14th September 2023
Artistes Manifestes, Adélie Le Guen, Chang, Ban-Yuan, 'Entretien avec Ban-Yuan Chang : « Humanism in posthuman subject »'[online] 27th March 2020
Tainan Art Museum, Following Artist #Chang Ban-yuan to Explore the Exhibition |Multiple Copies - Readable Multiplex Landscape [online video]
2025 Regular Art Grants, Department of Cultural Affairs,Taipei City Government
2023 Regular Art Grants, Department of Cultural Affairs,Taipei City Government
2022 Regular Art Grants, National Culture and Arts Foundation
2022Regular Art Grants, Department of Cultural Affairs, Taipei City Government
&
Honors
2018 Selected Artist, Taipei Fine Arts Museum (TFAM) Solo Exhibition Program, Taipei, Taiwan
2017 Made in Taiwan (MIT) Young Artist Discovery, Ministry of Culture, Taiwan (Exhibited at Art Taipei 2017)
Last Updated 24.10.31
The inaugural chapter of the 圖 t u series—phonetically evoking the Mandarin term for "image" (圖)—functions as a speculative self-disclosure rooted in science-fiction imagination. Its conceptual bedrock is formed by the interplay between teenage psychological trauma and Chang’s visceral experience as a paramedic (2016–2017). These formative encounters serve as a lens through which to interrogate the mechanisms of life, body-modeling, and identity production, mapping the trajectory of the individual within today’s "omniscient information community."
By adopting a perspective of "navigation" and "objecthood," this volume challenges the anthropocentric hierarchy of experience production. It examines the "colonization" of the human subject by ubiquitous imagery and data, extracting fragments from personal history to contemplate our existence in a fractured, post-human era. In this world, identity is no longer a cohesive whole but a series of shadow-like sediments—an "imaging" of the non-Human human that exists in the interstitial spaces between biological memory and digital information.
《圖 t u》是一場建立於科幻想像下的自我對白。本系列的創作基底，源於自身對青少年時期受迫經驗中「獵物視角」的微觀內觀，並與服役於消防單位時對外顯創傷的「非人化觀看」相互揉合。這兩段生命軌跡，共同構成了對生命、身體塑形以及身分生產機制的思考基石，並轉化為探索個體在當代「全知資訊共同體」地圖下如何自處的生存路徑。
本展覽核心在於辯證「人」與其「經驗生產」之間的共生與異化。張般源採取一種「物性」（Objecthood）的姿態，探詢影像資訊如何對主體經驗進行殖民與配置，進而批判當代世界中過度傾向人類中心主義的擴張。創作過程並非採取全知的上帝視角，而更接近一種在破碎、模糊的未知時代中進行的「探勘」（Navigation），試圖與那些如同影子般的資訊碎片進行共享與對話。這些微觀聚合的感官沉積，實則是對「非人之人」（non-Human human）生存狀態的具象想像。透過書寫、圖鑑、平面繪畫、雕塑與空間裝置的複合敘事，展覽揭示了個體在高度標籤化的資訊社會中的脆弱性。