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《邵帆：物性》呈现艺术家邵帆的一系列三维作品与二维绘画。跨越媒介的边界，邵帆的实践持续探讨材料、时间与结构之间如何生成秩序。《物性》试图推演艺术家对于“形如何生成”的长期思考，也提示我们重新理解“造物”的逻辑如何塑造我们对世界的认识。所谓“物性”，不只是物质属性，不只是材料、结构与时间在生成中显现秩序的方式，也是理解世界生成方式的一种“悟性”。
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也许，未来正是过去的倒影。当你足够深入地回望，你便开始看见前方。
——邵帆
当我们在现实时空中再次遭遇邵帆的“椅子”，它自1990年代诞生之初所保留的“物种之谜”似乎依然没有被充分解开，它始终处在一种临界状态：既非传统意义上的雕塑，也非家具可归类。它像是一种结构性的提问：当功能被推向极限，技艺摆脱功用，当不同的宇宙观相互交接，原本闭合的物件框架是否可被延展为流动的路径？
邵帆，1995作品1号，1995，榆木，楸木，107 × 108 × 52 cm。图片由艺术家和维他命艺术空间惠允。
榫卯在此不只是工艺技术，而是一种生成原则。凸与凹、阴与阳之间的嵌合，并非对立的消解，而是在张力中的持续平衡。顺应材料的伸缩与时间的变化，结构在生成中保持秩序。技艺在这里显露出一种更深层的逻辑——它不仅连接部件，更组织世界。
借用哲学家许煜提出的“宇宙技术”概念，我们或许可以将榫卯理解为一种生成式的宇宙技术原型：它将天地人与材料纳入同一构造过程。与之相对的，是自古希腊以来以几何模型为核心的宇宙表达方式。当几何嵌入榫卯体系，两种不同的宇宙观在同一物体中交叠，使结构不再封闭，而成为关系的场域。
在新千年之后的作品中，邵帆逐渐将榫卯逻辑推向更纯粹的形态层面。结构不再仅为效率服务，而成为线条比例与曲面张力的表达方式。形体不依赖几何对照，而在曲与张的持续调节中自然浮现。
邵帆，明式睫毛，2007，胡桃木，57 × 153 × 12 cm，Φ 6 cm。图片由艺术家和维他命艺术空间惠允。
这样对生成机制的探索，也自然延伸至三维与二维世界的边界：二维作品不再是三维世界的再现，而成为生成过程的显现；榫卯转化为形体之间边界关系的处理方式，正形与负形在过渡中彼此成就着造型的整体，似乎万物从未分化的基底上（宣纸纸面）逐渐展开自身，从混沌中直至自然轶序的诞生。
邵帆，果1525，2025，宣纸水墨，80 × 75 cm。图片由艺术家和维他命艺术空间惠允。
在数字技术重塑世界结构的当下，0与1构成的计算逻辑强化了模型式的思维方式。然而，当算法逐渐呈现为网络与拓扑的关系场时，榫卯嵌合和水墨笔触所体现的连续生成逻辑显得尤为重要。问题不在于传统与当代的对立，而在于结构是否仍然允许生成：是由可切分的单元构成，还是由相互生成的关系彼此维系着动态的均衡？时间的分岔究竟将导向持续的分裂和离散，还是导向持续的新的成形？
也许，当邵帆以回望的方式思考未来时，我们终究可以体会，过去和未来正在形成一种时空的正负关系，持续地相互生成，循此幽径，回望并非是对历史形式的回归，而是对生成原则的反思与再实践。
邵帆作品©艺术家
图片由艺术家和维他命艺术空间惠允
关于艺术家
邵帆，号昱寒，1964年生于北京艺术世家，自幼随父母学习绘画，一直生活在北京。自1990年代以来，邵帆的创作，涵盖和跨越三维作品、油画、水墨、园林空间等多种媒材实践，探测诸种媒材在不同的时空和意识之中的流变。
Shao Fan: The Nature of Things
Shao Fan: The Nature of Things brings together a selection of three-dimensional works and two-dimensional paintings by the artist. Since the 1990s, Shao Fan has repeatedly returned to the chair as a structural prototype through which the relationships between material, structure, and the emergence of form are examined.
In these works, the traditional mortise-and-tenon system is no longer simply a method of construction. It functions as a generative principle through which form comes into being. Rather than following predetermined models, forms emerge through the dynamic balance of tension and relation.
Across three-dimensional work and painting, Shao Fan’s practice explores how material, time, and structure give rise to order. The Nature of Things reflects the artist’s ongoing inquiry into how forms come into being, and how the logic of making continues to shape our understanding of the world. Here, “the nature of things” refers not merely to the properties of matter, but to a generative logic through which form appears—and to a way of perceiving how the world comes into being.
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Perhaps the future is the reflection of the past. When one looks back deeply enough,
one begins to see what lies ahead.
— Shao Fan
When we encounter Shao Fan’s “chair” again in the present, the “mystery of its species” that has accompanied it since its emergence in the 1990s still seems far from resolved. It remains in a suspended state: neither sculpture in the conventional sense nor readily classifiable as furniture. Rather, it appears as a structural question. When function is pushed to its limits and craft detaches from utility, when different cosmological system intersect, might the once closed framework of an object unfold into a fluid path?
Shao Fan,Work No. 1, 1995,1995,elm wood, catalpa wood,107 × 108 × 52 cm. Courtesy of the artist and Vitamin Creative Space.
Here, the mortise-and-tenon system is no longer merely a craft technique, but a generative principle. The interlocking of convex and concave, of yin and yang, does not dissolve opposition, neverthless sustains equilibrium through tension. By responding to the expansion and contraction of material and the passage of time, structure maintains order through ongoing processes of formation. Craft thus reveals a deeper logic: it not only joins components, but organizes relations.
Borrowing the philosopher Yuk Hui’s concept of cosmotechnics, mortise-and-tenon may be understood as a generative cosmotechnical prototype that brings heaven, earth, human practice and material into a shared constructive process. In contrast stands the cosmological model centered on geometric form that has shaped Western thought since ancient Greece. When geometry enters the mortise-and-tenon system, these two cosmological paradigms overlap within the same object, allowing structure to open outward as a field of relations.
In works created since the turn of the millennium, Shao Fan gradually pushes this logic toward a more autonomous level of form. Structure no longer serves efficiency alone but becomes a means of articulating proportion and the tension of curved surfaces. Form no longer relies on geometric comparison; instead, it emerges through the continuous modulation of curve and tension.
Shao Fan, Ming-Style Eyelash, 2007, walnut wood, 57 × 153 × 12 cm，Φ 6 cm. Courtesy of the artist and Vitamin Creative Space.
This exploration of generative mechanisms extends naturally to the threshold between three-dimensional and two-dimensional realms. The two-dimensional works are not representations of a three-dimensional world, but manifestations of generative processes themselves. Mortise-and-tenon becomes a way of thinking about boundaries between forms: positive and negative shapes gradually define one another. From what appears as an undifferentiated ground—ink on rice paper—forms slowly unfold, moving from indistinction toward the emergence of natural order.
Shao Fan, Fruit 1525, 2025, Ink on rice paper, 80 × 75 cm. Courtesy of the artist and Vitamin Creative Space.
At a moment when digital technologies are reshaping the structure of the world, the computational logic of 0 and 1 reinforces model-based thinking. Yet, as algorithms increasingly appear as relational fields of networks and topology, the continuous generative logic embodied in mortise-and-tenon structures and ink brushwork acquires renewed relevance. The question is not one of opposition between tradition and the contemporary, but whether structure itself still allows for generation: is the world composed of divisible units, or sustained through mutually generative relations?
Perhaps, when Shao Fan turns backward in order to illuminate the future, we come to recognize that past and future enter into a dynamic polarity—forming a reciprocal, generative relation across time and space. In this sense, such retrospection is not a return to historical forms, but a reflection upon, and renewed practice of generative principles.
The Nature of Things presents the artist’s long-standing inquiry into how form comes into being, while inviting us to reconsider how the logic of making shapes our understanding of the world. Here, the nature of things refers not only to the properties of matter, nor merely to the way material, structure, and time produce order in processes of formation, but also to a form of insight through which we begin to perceive how the world itself comes into being.
All art works by Shao Fan © the Artist
Courtesy of the artist and Vitamin Creative Space.
About the Artist
Shao Fan, Hao (art name): Yu Han. Shao Fan was born in 1964 to a renowned family of artists in Beijing, where he has lived ever since. He studied painting with his mother and father from a young age. Since the 1990s, his artistic practice has spanned a wide range of mediums, including three-dimensional works, oil on canvas, ink on rice paper, garden design, and architecture, exploring the transformation of materials across different times, spaces, and states of consciousness.
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维他命艺术空间
邵帆：物性
时间
2026年3月22日–6月28日
地点
镜花园，空间1，空间2，空间5
地址
广州市番禺区化龙农业大观园内
日常开放时间
周三至周日13:00–17:00（周一，周二闭馆）
如遇节日或特殊情况，开放时间可能调整，敬请关注公众号及官方网站通知。
如您计划来访参观，请提前通过镜花园官方网站“预约来访”页面进行预约。
网址: mirroredgardens.art
联系我们: mail@mirroredgardens.art
电话: +86 20-31043759
微信公众号: 交叉小径
媒体联系: PR@vitamincreativespace.com
Vitamin Creative Space
Shao Fan: The Nature of Things
Dates
22 March – 28 June 2026
Venue
Mirrored Gardens, Space 1, Space 2, Space 5
Address
Hualong Agricultural Grand View Garden, Panyu District, Guangzhou
Daily Opening Hours
Wednesday–Sunday, 1–5 pm (closed on Monday and Tuesday)
Hours may vary on public holidays or under special circumstances, please check our website or WeChat Public Account for the latest updates.
Visitors are kindly requested to make an appointment in advance via the “Visit” page on the official website of Mirrored Gardens.
Website: mirroredgardens.art
Contact us: mail@mirroredgardens.art
Tel: +86 20-31043759
Press: PR@vitamincreativespace.com
影像资料 Video Documentation
《邵帆：物性》，18分33秒，观心亭，2026。影片由观心亭惠允。
“Shao Fan: The Nature of Things.” 18 min 33 sec, The Pavilion, 2026. Courtesy of The Pavilion.
展览现场 Exhibition Views
“邵帆：物性”展览现场，镜花园，广州，2026。
摄影：Jonathan Tan。
图⽚由艺术家和维他命艺术空间惠允。©维他命，2026。
邵帆作品©艺术家，2026。
Exhibition view of Shao Fan: The Nature of Things, Mirrored Gardens, Guangzhou, 2026.
Photographer: Jonathan Tan.
Courtesy of the artist and Vitamin Creative Space. © Vitamin, 2026.
All works of art by Shao Fan ©the artist, 2026.
展览现场，空间1-1 Exhibition Views, Space 1-1
展览现场，空间1-2 Exhibition Views, Space 1-2
展览现场，空间2 Exhibition Views, Space 2
展览现场，空间5 Exhibition Views, Space 5
“邵帆：物性”展览现场，镜花园，广州，2026。
摄影：温鹏。
图⽚由艺术家和维他命艺术空间惠允。©维他命，2026。
邵帆作品©艺术家，2026。
Exhibition view of Shao Fan: The Nature of Things, Mirrored Gardens, Guangzhou, 2026.
Photographer: Wen Peng.
Courtesy of the artist and Vitamin Creative Space. © Vitamin, 2026.
All works of art by Shao Fan ©the artist, 2026.
