衍光 Light Unfolded

雅涵个展 Yahan Solo Exhibition

2026.09.12-09.26

策展人｜Curator

孙宇航 Sun Evelyn

有边空间BOUNDED SPACE荣幸宣布，将于2026年9月12日至2026年9月26日精心呈现艺术家雅涵的个展《衍光》，本次展览由孙宇航担任策展人。

光线趋向笔直推进，而世间万物的机理总会成为光路中偶然的生发，既定轨道随之转变......

艺术家雅涵受岩彩与屏风美学浸润，跳脱西方艺术将金箔视为实体材质、装饰符号的传统认知，承袭东方核心箔学理论：金箔无固定实体形态，并非造型物料，而是收纳、折射并弥散光线的虚空场域。箔面的所有层次明暗及差异，皆由光线弯折生成，随视角与环境动态变化，消解了传统视觉的唯一标准答案。

基于这一古典材质内核，雅涵引入当代创作语境，构建双重思辨体系。其一为表层与内里的介质辩证：作品采用的镀层工艺是纯粹的表层附着，而非材质融合，金属光华作为人工构建的视觉外衣，与基底形成明确边界与割裂关系，精准解构当代社会的表象浮华与内在真实，完成对视觉虚妄性的后现代祛魅。其二为物哀美学的当代转译：作品以碎裂金箔、瞬时光影、消逝性的烟花意象，延续物哀审美，肯定短暂、无用、转瞬即逝的纯粹之美，对抗功利化、结果化的固化审美秩序。

从平面绘画到空间屏风，雅涵通过此次展览完成了视觉语言的递进。传统金箔屏风本就以“造空纳光”为核心，依托东方的留白哲思，不以具象图像叙事，而以箔面光影分割空间、营造流动场域。雅涵以此为基础，用斑驳褶皱的箔面肌理重构当代屏风语义，在空间出呈现出光影的裂隙与错落。最终，以沉浸式声律装置《层音》将视觉的衍光逻辑延伸至听觉维度。依托于中国古典五声音阶的规整宇宙秩序，以宫、商、角、徵、羽构建理性基底，再以自然风随机触发丝绢、竹质撞针与音律铝管，让固定的古典秩序被偶然的动态与无序的自然力量打破。

整个空间以箔承光、以光生象、以视听共生。衍光的本质，是对单一秩序的消解，对多元形态的接纳。所有经由介质衍生与重塑的光影，皆为当代审美与精神状态的全新表达，非崩塌、非偏差，是另一种完整的抵达之道。

文/孙宇航

展览现场

艺术家雅涵

BOUNDED SPACE is honored to announce that from September 12 to September 26, 2026, it will present artist Yahan’s solo exhibition, titled Light Unfolded. This exhibition is curated by Sun Evelyn.

Light tends to advance in straight lines, yet the mechanisms of all things in the world inevitably become chance occurrences along its path, redirecting its established trajectory…

Immersed in the aesthetics of  mineral-pigment painting and folding screens, artist Yahan departs from the Western convention of viewing gold leaf as a solid material or decorative symbol. Instead, she inherits the core Eastern theory of foil: that gold leaf possesses no fixed physical form—it is not a modeling material, but a void field that absorbs, refracts, and disperses light. All gradations of light and shade on the foil surface, along with their variations, are generated by the bending of light, shifting dynamically with perspective and environment, thus dissolving the singular authoritative answer of traditional visual perception.

Grounded in this classical material essence, Yahan introduces a contemporary creative context to construct a dual system of critical reflection. The first is a dialectic between surface and interior: the lamination process she employs is a purely superficial adherence, not a fusion of materials. The metallic luster, as an artificially constructed visual mantle, forms a clear boundary and rupture with the substrate, precisely deconstructing the superficial glamour and inner reality of contemporary society, and completing a postmodern disenchantment of visual illusion. The second is a contemporary translation of mono no aware: through fragmented gold leaf, fleeting light and shadow, and ephemeral imagery of fireworks, her work continues the  aesthetic of mono no aware, affirming the pure beauty of the transient, the useless, and the momentary, while resisting the entrenched utilitarian and result-oriented aesthetic order.

From two-dimensional painting to spatial screens, Yahan advances her visual language through this exhibition. Traditional  gold-leaf screens are inherently centered on “creating void to receive light,” relying on Eastern philosophy of negative space, not to narrate through figurative imagery, but to divide space and generate a flowing field through the play of light and shadow on the foil. Building upon this, Yahan reinterprets the contemporary meaning of screens with mottled, crumpled foil textures, presenting fissures and rhythms of light within the space. Finally, the immersive sound installation Layer Sound extends the logic of light-diffusion into the auditory dimension. Anchored in the ordered cosmic structure of the Chinese classical pentatonic scale: gong, shang, jue, zhi, yu, it establishes a rational foundation, while natural wind randomly triggers silk and bamboo strikers against tuned aluminum tubes, allowing fixed classical order to be disrupted by chance occurrences and the dynamic forces of nature.

Throughout the entire space, foil receives light, light gives rise to phenomena, and sight and sound coexist. The essence of light-diffusion is the dissolution of a single order and the embrace of pluralistic forms. All shadows and light generated and reshaped through media are new expressions of contemporary aesthetics and spiritual states—not collapse, not deviation, but another complete path of arrival.

By Sun Evelyn

讽刺的诗银箔、大漆、金箔、墨、岩彩｜120 × 90 cm｜2026

暗物质镀层石英砂、岩彩、钻石、宝石、麻纸｜328 × 120 cm｜2026