3rd May 2026 - 7th June 2026
ss space space
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
103.5cm x 151.5cm x 16cm
2026
3rd May 2026 - 7th June 2026
ss space space
sik-tsân
Paper pulp, resin, plaster, and aluminum
Dimension variable
2026
3rd May 2026 - 7th June 2026
ss space space
bū-sik
Acrylic, compressed charcoal, paper pulp,
resin, rice ears, plaster, epoxy resin, wood panel,
fabric fiber, and pencil on paper
(136cm x 170cm x 2.5cm ) x 3 pieces
2026
3rd May 2026 - 7th June 2026
ss space space
liam liam
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
62cm x 119.5cm x 16cm
2026
3rd May 2026 - 7th June 2026
ss space space
Acrylic, compressed charcoal, paper pulp,
resin, plaster, epoxy resin, aluminum bars,
and wood panel
100cm x 163cm x 16cm
2025-2026
Ban-Yuan Chang’s practice critically examines how everyday perception is overlaid, shaped, and detached amidst the contemporary deluge of information and imagery. Chang seeks to capture how daily visual culture, landscapes, social media, and emotional exchanges construct our perception of spatial environments and objects. Through mixed media—including painting, installation, and sculpture—Chang reassembles and compresses these elements, articulating the viscosity of information overload and a weightlessness of belonging under pervasive sensory latency.
In Chang’s material methodology, Chang bridges the philosophical reflections on material transformation derived from Taiwanese folk beliefs—from prayer (念niàn/human intention) and incineration to ash residue—with the translation of contemporary information remnants. Chang shreds personal and socio-cultural archives that construct our daily landscapes (writings, visual logs, message records, financial reports) into custom paper pulp, serving as a sedimented "fiber of sensibility". Using this as a primary medium, Chang develops spatial paintings and sculptural installations responding to the delayed, condensed everyday condition forged through information overlays.
Rather than merely addressing technological media itself, Chang’s work opens an expansive perceptual realm for the fragmented yet subtly interconnected sensory experiences of modern life—capturing states of drift and trance. By multi-dimensionally stratifying and reassembling personal memories, local textures, and material transformations, Chang aims to generate sustained, resonant dialogues across diverse urban and cultural contexts.
張般源的創作主要關注人在當代資訊與影像洪流中，日常感知如何在此環境下被疊印、形塑與脫鉤。他試圖捕捉日常中的生活影像、景觀、社群平台與情感交流對景觀空間與物件感知的塑造，並透過多媒材（繪畫、裝置/雕塑等）將這些元素進行重組與壓縮，呈現資訊過度堆疊的黏稠、延遲下的歸屬失重感。
在媒材實踐上，張般源將台灣民間信仰中關於祈願（念）、焚化至灰燼殘餘的物質轉換哲學，對應至當代資訊殘存物的轉譯。近年張般源將構築日常景觀的個人與社會性檔案（書寫、日常影像紀錄、對話紀錄、報表等）進行絞碎，自製紙漿作為某種感性纖維的沉積物。以此作為主要的創作介面，發展出具空間性質的繪畫組件與雕塑裝置，回應身處於資訊疊印狀態下充滿延遲感與凝結的日常翻印。
他的作品並非單純回應技術媒介本身，而是對人在當代生活中，那種趨近碎片卻又隱隱相連的感性經驗，其浮動與出神的狀態留下開放的感知空間。張般源期待透過將個體記憶、地方紋理與物質轉換進行多維度的沉積與重組，為不同城市與文化情境間的當代藝術對話帶來持續的回應。
2024 Royal College of Art PhD in Arts & Humanities Research (practice-led)
2017 Subsitute military service at New Taipei City Fire Department Ganyuan Squad
2016 Chelsea College of Arts MA Fine Art
2026 態: Alluvium, ss space space, Taipei, Taiwan
2024 圖 t ⤵u volume 03, Yao space, Taichung, Taiwan
2024 圖 t__u volume 02, 182artspace, Tainan, Taiwan
2023 圖 t u, Helios Gallery, Taipei, Taiwan
2019 The Self, Humans and Machines with their Residues, Taipei Fine Art Museum, Taipei, Taiwan
2017 Meditation From the Empire Legacy, Made in Taiwan zone Young Artist Award,Taipei Art Fair , World Trade Centre, Taipei, Taiwan
2016 The Whisper in Inheritance, RAUM Gallery, London, United Kingdom
2016 From the other side, Punctum Gallery, London, United Kingdom
Group show
2025 Can We All Fit In，Kaohsiung Museum of Fine Art， Kaohsiung，Taiwan
2024 The Gravity of Whisper，182 artspace，Tainan，Taiwan
2024 The Body Boundary of Contemporary Society, Wan Gallery, One Art Taipei, Hotel Metropolitan Premier Taipei, Taipei, Taiwan
2023 Lefties Do it Rights，Sinpin pier Art Space, Kaohsiung,Taiwan
2023 Repetition and Difference: Posthuman．Diverse Species, National Yang Ming Chiao Tung University Art Centre, Hsinchu, Taiwan
2023 HEMLINGBY3, Taipei Artist Village/Carp Gallery, Taipei/Taichung, Taiwan
2022 Roaming in time, Flame Taipei ,Waley Art, Taipei, Taiwan
2022 HEMLINGBY2, Carp Gallery, Taichung, Taiwan
2022 Body's Body, Changhua County Art Museum, Changhua,Taiwan
2022 Multiple Copies - Readable Multiplex Landscape, Tainan Art Museum, Tainan, Taiwan
2021 Enclave, Asparagus Studio, Taipei, Taiwan
2019 RCA The School of Arts and Humanities Work in Progress Show, Royal College of Art, London, United Kingdom
2018 Human Condition, Kuo Mu Sheng Foundation,Taipei,Taiwan
2016 Future Island START ART FAIR Project, Saatchi Gallery,London, United Kingdom
2016 Chelsea Summer Show, Chelsea College of Arts, London, United Kingdom
Huang, Ting-Ju, 2024, ‘ 墜落的鴿子踏上X征途 《張般源個展 圖 Volume02》 ‘, Taishin Artalks (online)
‘Chang, Ban-Yuan, 2023, Thesis, The shamanic condition of becoming posthuman: Being embedded in scattered landscapes PhD thesis, Royal College of Art.
Chang, Ban-Yuan, 'Enclave', in 'Multiple Copies - Readable Multiplex Landscape', ed. by Pei-Hsin Chiang (Tainan, Tainan Art Museum, 2022）ISBN: 978-986-5487-80-5
Chang, Ban-Yuan, 'The Self, Humans and Machines with Their Residues: A brief discussion on our position in today's world and theses three inseparable and entangled bounds' (Taipei, Taipei Fine Art Museum, 2019)。ISBN: 978-986-5412-21-0
隨意聊聊, 隨藝聊聊 EP17 | 靠X唷！你以為你在數位手術台上喔！快加入我們迷霧版圖中寫生的行列吧！｜來賓: 藝術家 張般源 [Podcast] 25th April 2024
觀弱音, EP126 『倫敦藝術沒有地圖』 藝術家張般源 [Podcast] 14th September 2023
Artistes Manifestes, Adélie Le Guen, Chang, Ban-Yuan, 'Entretien avec Ban-Yuan Chang : « Humanism in posthuman subject »'[online] 27th March 2020
Tainan Art Museum, Following Artist #Chang Ban-yuan to Explore the Exhibition |Multiple Copies - Readable Multiplex Landscape [online video]
2025 Regular Art Grants, Department of Cultural Affairs,Taipei City Government
2023 Regular Art Grants, Department of Cultural Affairs,Taipei City Government
2022 Regular Art Grants, National Culture and Arts Foundation
2022Regular Art Grants, Department of Cultural Affairs, Taipei City Government
&
Honors
2018 Selected Artist, Taipei Fine Arts Museum (TFAM) Solo Exhibition Program, Taipei, Taiwan
2017 Made in Taiwan (MIT) Young Artist Discovery, Ministry of Culture, Taiwan (Exhibited at Art Taipei 2017)
Last Updated 24.10.31
3rd May 2026 - 7th June 2026
ss space space
text/ ss space space
[More..]
Solo show
7th December 2024 - 29th December 2024
Yáo space 窯座
The 圖 t__u Trilogy constructs a speculative fantasy that navigates the fragmented outlines of an objectified, "infobese" world—a landscape defined by the systemic malfunction of information digestion. This series serves as a profound reflection on the metamorphosis of identity and body image in an era where the human subject is increasingly reduced to a data point. By examining the "coloniality" of the body within technological imagery, the project envisions a non-narrative sensory realm: an "untitled future" where endless layers of storytelling collide like a territorial battle over the physical self. Rather than offering a dystopian prophecy or a political manifesto, the trilogy acts as a collective archive of fragmented information, mirroring the weightless, suspended state of the contemporary body in a hyperreal void.
Building upon the laboratory-like inquiry of the first volume and the staged landscapes of the second, the third installment marks a pivotal shift from "walking through the fog" to the tactile manifestation of an emerging subject. Through a multidisciplinary practice encompassing painting, fiction, sculpture, and installation, the artist employs a "makeshift" methodology to fill the narrative interstices of this imagined world. This process involves a symbiotic collaboration with AI as a co-author, the physical "drawing" of 3D-rendered digital models, and the meticulous production of fictional operation handbooks. By assembling these various "props" and technical depictions, the 圖 t__u Trilogy culminates in a world of "suspended materiality"—a detached yet palpable scenery that interrogates how we position and perceive our own existence amidst the relentless flow of digital information.
[More..]
Solo show
22nd Feburary 2024 - 1st April 2024
182 artspace
It is a narrative, a script of murmur, describing the landscapes of that world from Chat and I (Chang), a world shattered into fragments beneath the radiance of blue light. It delves into the musings of individuals within that world—him, his, and he and it—filling the gaps between ‘t’ and ‘u’, contemplating the flesh, wounds, love, contours, and forms existing in that world. There, thoughts are sustenance, savored with electricity, becoming what they should be, embodying the essence of "圖." .
[More..]
Solo show
4th March 2023 - 25th March 2023
Helios Gallery
By adopting a perspective of "navigation" and "objecthood," this volume challenges the anthropocentric hierarchy of experience production. It examines the "colonization" of the human subject by ubiquitous imagery and data, extracting fragments from personal history to contemplate our existence in a fractured, post-human era. In this world, identity is no longer a cohesive whole but a series of shadow-like sediments—an "imaging" of the non-Human human that exists in the interstitial spaces between biological memory and digital information.
[More..]
The Self, human and machine with their residues
Solo show
17th August 2019 - 3rd November 2019
Taipei Fine Art Museum
Under this network-connected system, by using a collage of traditional oriental elements and multiple sculptures put together with interactive machine installations, Ban-Yuan Chang conveys the political purpose of humans and machines, and the tradition applied to today's society, as well as the imbalance caused by excessive consumption, from which a normalizable imaginary space is proposed. At the same time, the ‘‘co-sharing relationship between machine and human” and the enaction of the entanglement between human and society and machines is interpreted from an affirmative perspective. The posthuman era is about to come, as said by the representative postmodern literary scholar Katherine Hayles: “We have always been posthumans”.
Through this exhibition, Ban-Yuan Chang tends to provide a constructed imaginative artifact space by juxtaposing cultural multiplicities and mechanical interactive installations, in the hopes that the audience can reflect on today's dilemma and the co-sharing and coexistence of the information age.
[More..]