Yau‘s early work was influenced by the mechanism of remote sensing images. This technology integrates segmented images of the landscape into a panoramic view that transcends the passage of time and spatial stability. The process of transforming fragments into a coherent view reminded Yau of the human vision, but also prompted meditation on the shifting perspectives that underlie Chinese ink landscapes. Yau’s philosophy of “Guan 观”, which can be summarized as ”以大观小, 以小观大 Through the vast, discern the minute; in the minute, behold the vast,“ guides his unique interpretation of landscapes. His paintings, like unfolding scrolls, present landscapes that metamorphose as viewpoint shifts. Central to Yau‘s art is his ”Looming Sceneries,“ where the flow of clouds and parts of rocks are divided into grids, overlapping and interlacing to generate a digitally-altered fragment of landscape, creating a tapestry of interconnected microcosms for viewers to explore.

邱荣丰的艺术创作根植于中国山水画的时空美学，笔墨酣畅之间，推敲古人对空间与时间的哲思。然而岁月变迁，人们观赏和想像世界的方式因科技的发展而急剧改变。邱荣丰正是透过他的创作参与人与时空之间永恒的对话，表达当下的视觉经验。本次展览，邱荣丰透过对水墨的思考建立个人的空间美学，以回应当代脉络的变迁，拓展当代宇宙观。

邱荣丰早期的创作受到遥感图像的分段式记录方法所启发，探索更多山水景观的可能性。遥感图像在移动的同时分段摄取影像，影像之间的重叠总和成完整的视图。每一片段捕捉的是瞬间景色，因此整合而成的画面失去时间性，某种程度上什至超越了时间的流逝和空间的稳定。

化零为整的过程带来时空上的模糊，也令邱荣丰联想到人类视觉的工作机制，启发了他对于“观”的反思。在他看来，所谓“观”在于“以大观小，以小观大。”绵延的山水画卷之所以能带来观游的体验正是因为随着画卷展开，视角的变化带来空间上的流转，由此引导观者“自山下而望山巅，自山前而窥山后，自近山而望远山，”通往超越现实的意境。

这样解析时空的方式成为了邱荣丰创作的基调，并建立了「若境」系列的艺术语言。这一系列的作品中，画面等分为格，云雾与山石交错，分割后的景致宛如山水被数字化压缩错位。每一个格子独立可成别致小景，远观又呈现出一个多维的空间以供观者游走。