浮点植株 Original

This work employs AI-driven point cloud technology to conduct real-time scanning and digital sampling of nine plant species from the Olympic Forest Park, the Daxing Flower Base, and the China Academy of Art. These sites were not selected for botanical diversity, but for the distinct life conditions they embody: plants in the Olympic Forest Park, subject to trampling and consumption, reveal a conspicuous yet fragile sense of distress; those in the flower base and greenhouse are carefully cultivated and protected, existing under conditions of observation and deliberate shaping; while plants at the China Academy of Art persist in a state of everyday coexistence, often overlooked within a familiar environment. Together, these three sites delineate three conditions of life—neglect, observation, and shaping—which also constitute the underlying motivation for this act of scanning.
In the instant of capture, point cloud technology translates the textures and structures of plants into discrete data particles. These particles are subsequently reassembled, extended, and regenerated within virtual space, forming a dynamic landscape that exists between “nature” and “data.” Plants thus cease to function as objects of representation, instead becoming processes of continuous generation, constantly reconfigured and extended within a technological logic.
In this process, I intentionally shift the plants’ original colors, detaching them from their natural chromatic spectrum. This chromatic displacement not only reconfigures visual experience but also poses a question of “the real”: when plants are re-presented through technological means, are they extensions of nature, or constructs shaped by perception and cognition? As viewers move between the real and the virtual, life unfolds as a continuously generative condition within another technological logic, while the boundaries of “the real” become increasingly indeterminate.