ss space space is pleased to present Alluvium, a solo exhibition by artist Ban-Yuan Chang. The exhibition brings together over a year of new work, including painting, sculpture, site-specific installation, and works on paper. Extending the artist’s ongoing inquiry into how perception is produced and displaced within contemporary image and information environments, this exhibition focuses on how everyday experience is shaped within the digital deluge, and how it gradually accumulates and transforms into material forms that can be sensed and encountered.

Chang’s practice centres on the ways perception is constructed and reorganised under conditions of constant visual and informational flow. Drawing from fragments of urban landscapes, online imagery, and interpersonal exchanges, he translates and recomposes these elements across multiple media. Through processes of compression and layering, his works articulate visual structures marked by viscosity and delay, situating perception between dispersion and connection, and opening up a fluid and indeterminate mode of viewing.

Paper pulp serves as the primary material in this exhibition. It functions as a medium of accumulation and sedimentation, allowing everyday experience to adhere and take on tangible form. Its fibrous density and thickness evoke the residue of excessive image production—at once resembling condensed memory and the material traces of data beyond legibility—positioning the works at the threshold between the material and the immaterial.

The exhibition title Alluvium originates from a geological term describing sediment deposited by the flow of water. Here, it is rearticulated as a metaphor for perception: how images and information, through continuous movement and accumulation, gradually shape the structures through which we see and sense. This dynamic of erosion and deposition resonates with the translation of everyday imagery into painting, as well as the sculptural forms extended through pulp-based processes. The Chinese character Tai (態) refers to a state in flux, emphasising perception as something continuously formed and transformed over time.

This concern with sedimentation and transformation is further informed by the artist’s long-term engagement with religious practice. The temple is approached as a site of translation, structured by writing, desire, and acts of offering. Through ritual burning, written texts and objects are transformed into smoke and ascend, while responses are imagined to descend, forming a cyclical movement. This vertical exchange finds a parallel in the material and spatial structure of temple architecture, where physical form and spiritual processes intersect.

Within the digital everyday, images and information accumulate like suspended particles, later settling as they are translated into documents or interfaces—akin to ash gathering or imagery congealing on surfaces. In this exhibition, these processes are reconfigured into works that engage narrative, power, and intention, giving form to an ongoing interface of language and perception.