“Matrix”: Deconstructing and Reassembling

“Matrix” is more like a gene bank of “Gateway to Taiwan: Island Tales”. Composed of ninety 30 × 30 cm square samples, the work draws from the creative process behind the airport public art project.

These samples record the early research, color testing, and formation of the visual language. They also preserve fragments of memory from the production site, before the work had yet become a complete image.

Large-scale public art is usually encountered by audiences in its completed form. Yet before a work takes shape, it often goes through extensive research, testing, and adjustment. “Matrix” brings these usually hidden processes back into view, allowing the fragments of creation to become objects of attention in their own right.

The work also extends the experience of “fragmented viewing” found in the airport public art project. In the airport, travelers encounter images while walking, waiting, or briefly pausing. The work is not seen in full all at once, but understood through movement. “Matrix” translates this mode of viewing into a static arrangement, creating an experience of “partial viewing before gradual revelation,” where a sense of completeness unfolds through the viewer’s gaze and bodily position.

Starting from these 30 cm samples, “Matrix” re-presents the path through which a public artwork accumulates, assembles, and takes shape from its smallest parts. It is not merely a preparatory stage before the completed work, but a reorganization of the artwork’s internal logic, traces of production, and conditions of viewing, allowing the creative process itself to become part of the work.