《精神漫遊》整個展出來自於三個階段的不斷變形，對應著猝不及防出現在時間軸上的疫情生活。我們計畫、再脫序、再應對、再產生，一切都是充滿著變動與不確定性。整個展出脫離了最一開始所談的材料以及漫遊，延展出了場域、現場以及再展場等不斷變化的過程。我們試著掌握這段時間所產生的不確定性，但正是因為其不斷的變動，漫遊才在此產生了意義。這個游移、流動的狀態反應的即是在變動下的行動、應變以及精神上的飄移及調適。

 

第一階段我們思考著與場地、觀者、藝術家的關係，內容朝向對材質精神性的探索與藝術家對於漫遊的必要性出發。

第二階段我們選擇破壞，透過漫遊－奔走在石膏上踩踏所造成的碎裂、聲響和遺留下來的現場，將石膏所乘載、挪移的工作室空間指向被物化後藝術家與工作室的關係。

第三階段我們收攏藉著時間的延宕所累積下來的素材構建整個展出：僅處在玻璃厚度中奔跑的幽靈人影，既往展場跑去，又往場外奔走。承接石膏的粉末與碎屑重新灌製成塵土色的粉筆，在牆上繪製白上加白的風景圖像，若有似無的遍佈整個空間。三個階段的時間序列重新排列組合、相互承接彼此而完整了整個展出。

距離與時間在我們與作品間形成了異化關係，對我們而言這樣充滿不確定性的狀態反映在我們身上卻成為了精神漫遊的主調。這樣應變、挪移、轉向、承接的各種動作反而一再讓我們更關注於創作本身。漫遊是一種創作的方法，我們以創作來思考創作本身。

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"Spiritual Roaming" is a continuous transformation across three stages that correspond to the unexpected appearance of pandemic life on the timeline. We plan, deviate, respond, and create again, everything is full of changes and uncertainties. The entire exhibition departs from the initial discussion of materials and wandering, and expands into the constantly changing processes of site, presence, and re-exhibition. We try to grasp the uncertainty generated during this period, but precisely because of its constant change, wandering acquires meaning here. This shifting, flowing state reflects the actions, responses, and spiritual drifting and adaptation under the changes.

 

In the first stage, we contemplated the relationship between the venue, audience, and artists, with the content aimed at exploring the materiality and spirituality and departing from the artist's necessity of wandering. 

 

In the second stage, we chose to destruct by stepping on the gypsum, causing fragmentation, sound, and leaving traces, thus directing the studio space carried and moved by the gypsum towards the artist and studio's objectification. 

 

In the third stage, we gathered the accumulated materials through the delay of time to construct the entire exhibition: ghostly figures running only in the thickness of the glass, running back and forth between past and present exhibition spaces. The gypsum powder and debris were re-cast into the dust color of chalk, drawing white-on-white landscape images on the wall, vaguely covering the entire space. The time sequence of the three stages was rearranged and combined to complete the entire exhibition.

 

Distance and time have formed an alienation relationship between us and the artwork. For us, this state of uncertainty has become the main theme of spiritual wandering. These various actions of adaptation, movement, turning, and continuation have repeatedly made us pay more attention to the creation itself. Wandering is a method of creation, and we use creation to think about creation itself.