The virtual and the real appear to be inseparable, and it is difficult to use our perception as a receptor to distinguish the real. We always seem to be swayed by the many external sensations we see, hear, and touch. What is true? This is the question that artist Yang Tzu-Yi is constantly exploring. Since what we see (feel) is not necessarily what it appears to be, and why do we see (feel); why do we think we can see (feel)?

Jean Baudrillard suggested the argument that the real no longer exists, that all things and the real have been replaced by “mimics” in the material society; the distinction between objects and representations, things and concepts has likewise become invalid, and the mimetic has become the real. As such, it appears that everything is in a state of chaos. He believes he can overcome this through the philosophical thinking of mountains and rivers and understand all the truths of nature through contemplation.

According to the Southern dynasties artist Zong Bing, “Landscapes have a material existence, and yet reach also in a spiritual domain”. In this way, he suggests that landscape carries the principle of the natural operation of the universe, using the movement of mountains and rivers as metaphors. Yang Tzu-Yi, therefore, employs landscape as the concept to express the “principle” of nature.

Yang Tzu-Yi’s paintings are repeated combinations of geometric blocks that resemble mountains and rocks, relying on his past visual experience constructed from observing landscapes. Placing a transparent, blurred, and large-scale surface in front of the eyes creates an out-of-focus viewing experience without the presence of a transparent object. Perhaps only in a kind of chaos is there an opportunity to go straight to the real. With this “indistinct” appearance, one can use their body and mind to experience the sensations of stepping out of the winding forest, seeing the overlapping mountains, and feeling the comfort and tranquillity that stretches infinitely.

The creation of “landscapes of this era” is not Yang Tzu-Yi’s intention. Instead, he uses techniques that have been passed down to this day. He grinds the ink, stretches the silk, lays the single-colour ink blocks repeatedly, and paints on the silk. It seems that staring at the transparent and penetrable block all the time can surpass its appearance and reach the truth behind it. Song dynasty artist Fan Kuan said, ”The previous methods have never failed to take things close to each other. When I learn from others, I am not like a teacher of things. When I learn from things, I am not like a teacher of minds.” Perhaps Yang Tzu-Y is the same as the literati; he is concerned about not being blinded by external entities and seeking a single mind.