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
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
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
Born 1991 | Taipei, Taiwan
Ban-Yuan Chang’s practice examines how everyday perception is produced, mediated, and destabilized within the continuous flow of contemporary information and images. Chang focuses on how daily visual fragments—urban landscapes, social media feeds, circulated photographs, and intimate exchanges—shape our understanding of bodily form and lived experience.
Working across painting, sculptural installation, and text-based works, Chang reorganizes and compresses these visual and emotional elements to evoke the viscosity, delay, and weightlessness that emerge from excessive accumulation of information. Rather than responding directly to technology as a tool, Chang is interested in the subtle transformation of sensibility: how perception becomes fragmented yet remains faintly connected, how experience hovers between immediacy and abstraction.
Chang’s works create perceptual spaces where viewers encounter this suspended condition—an atmosphere in which the body appears both present and displaced, drifting within an environment saturated by images yet searching for new modes of attention.
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身體形貌認知與生活感知的塑造，並透過跨媒材將這些元素進行重組與壓縮，呈現資訊過度堆疊下的黏稠、延遲與失重感。張般源的作品並非單純回應技術媒介，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。
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
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, '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
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
text / ss space space
The exhibition brings together over a year of new work, including painting, sculpture, site-specific installation, and works on paper. Extending the artist’s ongoing inquiry into how perception is produced and displaced within contemporary image and information environments, this exhibition focuses on how everyday experience is shaped within the digital deluge, and how it gradually accumulates and transforms into material forms that can be sensed and encountered.
Chang’s practice centres on the ways perception is constructed and reorganised under conditions of constant visual and informational flow. Drawing from fragments of urban landscapes, online imagery, and interpersonal exchanges, he translates and recomposes these elements across multiple media. Through processes of compression and layering, his works articulate visual structures marked by viscosity and delay, situating perception between dispersion and connection, and opening up a fluid and indeterminate mode of viewing.
Paper pulp serves as the primary material in this exhibition. It functions as a medium of accumulation and sedimentation, allowing everyday experience to adhere and take on tangible form. Its fibrous density and thickness evoke the residue of excessive image production—at once resembling condensed memory and the material traces of data beyond legibility—positioning the works at the threshold between the material and the immaterial.
The exhibition title Alluvium originates from a geological term describing sediment deposited by the flow of water. Here, it is rearticulated as a metaphor for perception: how images and information, through continuous movement and accumulation, gradually shape the structures through which we see and sense. This dynamic of erosion and deposition resonates with the translation of everyday imagery into painting, as well as the sculptural forms extended through pulp-based processes. The Chinese character Tai (態) refers to a state in flux, emphasising perception as something continuously formed and transformed over time.
This concern with sedimentation and transformation is further informed by the artist’s long-term engagement with religious practice. The temple is approached as a site of translation, structured by writing, desire, and acts of offering. Through ritual burning, written texts and objects are transformed into smoke and ascend, while responses are imagined to descend, forming a cyclical movement. This vertical exchange finds a parallel in the material and spatial structure of temple architecture, where physical form and spiritual processes intersect.
Within the digital everyday, images and information accumulate like suspended particles, later settling as they are translated into documents or interfaces—akin to ash gathering or imagery congealing on surfaces. In this exhibition, these processes are reconfigured into works that engage narrative, power, and intention, giving form to an ongoing interface of language and perception.
在這次展覽中，張般源將展出一系列的全新創作，涵蓋繪畫、雕塑、現地裝置與手稿等近十餘件作品。延續過往對當代影像與資訊環境中感知生成與位移的關注，本次展覽進一步聚焦於數位洪流之中，日常經驗如何被形塑，並在持續累積與轉化之下轉為可被感知的物質狀態。
張般源的創作圍繞人在高度流動的視覺與資訊條件下，感知如何被建構與重新組織。他經常擷取城市景觀、網路影像與人際互動中的片段，透過跨媒材的轉譯與重組，使影像與感受在不同形式之間展開。這些元素在壓縮與堆疊的過程中，他嘗試在作品中描繪具有黏滯感與延遲感的視覺結構，呈現一種介於分散與連結之間的感知狀態，並開啟流動而未定的觀看經驗。
本次展覽大多作品以紙漿作為主要創作媒材。此材料在作品中被藝術家視為一種累積與沉澱的載體，使日常經驗得以附著並轉化為具體形體。其纖維結構與厚度，則如同描繪影像大量生成後所留下的殘餘狀態，既近似記憶的凝結，也呈現資料在失去可讀性後所遺留的物質痕跡，使作品處於物質與精神的邊界狀態。
而展覽名稱「Alluvium」原為地質學中描述水流所帶來的沖積物。在本次展覽中，此概念被轉化為一種觀看方式的隱喻：影像與資訊在持續流動與堆積之中，緩慢形塑感知結構。這種沖刷與沉積的動態，對應於展覽中繪畫對日常影像的轉譯，以及由紙漿延展出的立體構造，使觀看在物質與經驗之間持續轉換。「態」則指涉此一過程中的變動狀態，強調感知在時間之中不斷生成與轉化的特性。
此一關於沉積與轉化的思考，亦延伸自藝術家長期的信仰經驗。廟宇在此被理解為由書寫、慾望與祈願所構成的轉譯場域。焚化文字與祭祀物件的儀式，使書寫轉化為煙氣並向上流動，而回應則於想像中向下生成，形成一種循環運作的結構。這種上下往復的動態，亦可在廟宇建築的物質結構中被感知，使精神性與空間形式之間建立關聯。
在數位日常之中，影像與資訊如懸浮微粒般持續堆積，並在轉化為文件或介面後緩慢沉降，如同灰燼的累積或圖像於表面的凝結。藝術家試圖在此次展覽中將這些過程中敘事、權力與祈願轉化為作品，以描繪一種持續運作的語言與感知介面。