The emphasis on fluidity is further manifested in Yau Wing Fung’s installations, and his new work Looming, positioned at the heart of the exhibition, represents yet another bold departure from conventional approaches to observe ink paintings. Yau materializes the mental landscape, utilizing visual illusion to introduce depth and three-dimensional structures that transcend the confines of the two-dimensional paper and even liberate from the imagination of the real world. The surrounding landscape leading into the center of the painting guides the viewers’ gaze. As they walk around the piece, they set the landscape in motion but also stir the physical space. In Yau’s view, traditional modes of ink painting, such as hanging scrolls, hand scrolls, and album leaves, shape the viewer‘s experience by directing their focus. Looming immerses the viewers in its landscape realm. It captivates them with an exploration on the intersection between personal experiences and the public domain of the exhibition, leaving a lingering meditation on the interconnectedness between the self and the world.

流通性在邱荣丰的装置作品中得到进一步的体现，本次展览正中央摆放的装置作品《蜃》 “Looming”更标志着他对于打破传统水墨画观赏模式的又一次尝试。艺术家将内心的山水空间实体化，通过视错带来的纵深感与立体结构，使水墨跃出二维画面甚至脱离对画外世界的想象。

围着块面中心环绕的山水引导观者的视线，观者在欣赏过程中围着作品走动，由此不仅画面中的风景流动起来，同时也牵动着现实空间的转动。在邱荣丰看来，传统水墨的外在形式，包括挂轴、手卷、册页等皆通过引导赏客观看的方式来影响赏作时的体验。通过他的装置作品，邱荣丰将人纳入山水的空间中，鼓励观者游走于个人体验的私密性与展览场所的公众性之间，沉浸着感知当下的运动如何与周遭的环境相回应。