In the past year, we started from the He Lan mountains and adopted the different models to train different components in the works and obtain multiple information. Two steps led to this work: first, two-layer deep machine learning AI was used to formulate several sets of virtual dynamic 3D graphics based on extensive field data in China. Then, in different periods, Chinese ink and wash paintings were learned and formed on the surface of the virtual domain through AI technology.
Referring to the concept of Yu Gong, China’s earliest geological imagination and thought, it reshapes China’s terrain through AI-drawn maps, aiming to create a new geological origin for Chinese civilization in the new era. It is expected to display culture cognition from different angles and everyone’s imagination desire through the translation of the terrain using AI.
Two parts were created during the process of creating this artwork in mountain sculpting and creating motion graphics. Eight spotlights were applied to map the exhibition’s 21-meter-long sculpture surface. A historic brick wall space transformed into an immersive poetic field. A spatial void of physical content drift is filled with floating animated graphics emerging from AI.
The realm teeming with uncertainties but feeling sensually real is generated by virtual means. It comes from the real world but does not exist in it. Instead, it is a natural prototype existing beyond human experience and achieving transcendence. In this work, virtuality is no longer aimless but shakes up reality to bring it closer to reality. Thus, it provides opportunities to reveal the unseen reality. Or it can be called knowing reality while remaining faithful to its virtuality.