Shuttling between nature and the meta-universe, between the virtual and the real, is a unique experience for contemporary people. Using digital technology, we interacted with five sets of land artworks to create this surreal series that inspires people to think about the relationship between city and nature, man and machine.

The return to nature has been a recurring trend in art history.

The 1960s and 1970s were the hippie era in North America. Reflecting on consumerism, questioning commercialization and advocating freedom were the collective consciousness of young people in this period.

Earth art, as a postmodern art trend, took the relationship between man and nature as its entry point and prevailed in that era. In the current context, land art is more often referred to as "site-specific" works such as public art, large-scale installations and sculptures.

Away from the gallery, the artists go to the unmodified natural areas of the desert, wasteland and countryside, working with ecological materials such as rocks, dunes and bamboo.

Its characteristics include close contact with the earth, strong local, full of chance, concern about environmental protection and other issues.

From a pop culture perspective, we want to explore contemporary representations of land art, focusing on the present moment: the rapid iteration of artificial intelligence technology, people on the one hand fear being replaced by machines, on the other hand worship the power of machines and try to harness it.

The unity of opposites between man and machine has strong aesthetic significance. Inspired by "Wild and Technology", we shot a series of fashion films, presenting the interaction of fashion, art and nature through digital technology, allowing AI to intervene in reality, redesign the real image and challenge imagination.

In this creation, five artists from the "In Aoyama · Kun-sung Art Season" presented their works: "Bamboo Forest Sound Field", "Dream", "Reflector", "Outer Ear, Inner Sphere" and "If · Wish".

The artists speak from the relationship between man and nature to the practice of ideas and the public meaning of art: to reshape perception in nature, to find peace and awe beyond the everyday.

Impetuous and excited social emotions are always accompanied by rapid changes of hot spots and new trends, full of innovation possibilities to break through the tradition.

At the same time, in the face of information cocoons and huge data superposition, the sensitivity of the crowd seems to be gradually weakening.

For architect Song Chen, the meaning of entering nature is to help humans slow down the pace of breathing, thinking and acting. "To the bamboo forest, calm down, slow down, you will feel the sound of the wind blowing bamboo leaves, the sound of running water, the taste of grass, etc."

To understand nature, start by listening to silence.

Song Chen's work "Bamboo Forest Sound Field" is constructed of white metal structures and natural bamboo to capture the original ecological sound.

The rhythms of all things gather and materialize into an accessible field, transforming the actual bamboo forest, wind, and sunlight into an experience that transcends everyday experience and amplifies hearing, touch, and taste.

The "field" in the title of the work means field, which is a definition - a circular semi-open space enclosed in the forest, independent and connected with the surrounding natural environment.

Boundaries create a separation from the everyday, inspiring people to explore and cross.

The inspiration doesn't come from anything specific; a line from an old Swedish movie, "Through a Glass Darkly," intriguses Mr. Song: "We draw a magic circle and shut out everything that doesn't fit our secret game." Every time life breaks that cycle and the game gets gray and ridiculous, then we draw a new circle and build a new layer of defense."

In addition to the concept, it is more reflected in the production level. The team uses local materials as much as possible, with the guidance of bamboo craft teachers, to reduce unnecessary transportation costs and material waste, and to organically integrate the work with the surrounding environment.

The site is adjacent to the path through the mountains, which is the only way for the locals to go up the mountain to collect bamboo shoots and bamboo - this is not only a work of art completed by their own hands, but also a landing point in the forest for people to rest and gather.

As an architect, Song Chen habitually considers the relationship between his works and the site, and is eager to make the artifacts belong to the land completely.

Looking at the earth itself, Song Chen pointed out that we should think about how to integrate natural materials into contemporary design, how to preserve and develop local handicrafts, so that local cultural elements can be preserved and spread, so that these completely wild elements existing in the village can enter the vision of more people.

The practice in Qingshan Village comes from the intention not to invade nature, but to echo, listen, translate and summon.

"Pillow" is like a label, representing the appearance of dreams. In this subject experience, it is the image, sound, thinking and feeling produced by people without their own awareness, but it is often related to individual spirit and life activities, and it is the channel for people to communicate with their subconscious.

As a product of the unconscious, dreams are natural beings belonging to the individual human being. The work "Dream" closely follows this nature, using pillows as a medium to connect people and the outside world. Nature is both a dream and the environment where green mountains are located. The sky is the quilt, the green mountains are like a tent, which is a kind of utopian yearning and comfort.