One by One, We Pick ___ Up takes its name from the playful act of ‘picking up' and centres on the artists’ process of collecting fleeting, often-overlooked moments from everyday life. These fragments are reorganised and reimagined through each artist’s distinct aesthetic language. Although the two artists differ in medium, methodology, and style, Chih Chiu and Naifei Wu share a fascination with challenging existing frameworks and fostering open-ended interpretation. In this exhibition, the boundary between viewing and participation is intentionally blurred, where works are not static objects but structures designed for interaction that welcome randomness, engagement, and improvisation.
Chih Chiu presents four works composed of sensory memories and fragmented experiences, transformed into rhythmic, perceptually charged installations. The materialised recollections are not rose-tinted nostalgia, nor cohesive narratives; rather, they are once-discomforting moments reprocessed, reshaped, and revisited. They are then arranged, triggered, and expanded within the exhibition space to allow a multifaceted perception that shifts between representation and fiction.
The Same Old Thing, Over and Over and Over and No Exit, No Entry draw from memories of domestic settings, while Gotta Mod the Exhaust (Test Unit) and The Droplet evoke the sensory textures of the urban landscape. The rhythm embedded in each work, a signature of the artist’s gaze, builds a tension between anticipation and stillness. In this rhythm, perception becomes both active and immersive while subtly confounding the roles of observer and participant.
In contrast to Chiu’s atmospheric echoes, Naifei Wu collects delicate traces of light and shadow in daily life or text and objects submitted by participants. P.O. Box 524 addresses the intimacy of handwritten letters and the serendipity of anonymous exchange. In this project, participants are prompted to send items to a specific mailbox of an unknown receiver upon discovering pre-stamped, empty envelopes in public spaces—an act that feels quietly radical in an age defined by hyper-efficient, frictionless digital communication.
Works like The First Light and Shimmer trace another thread in her artistic practice: the ephemeral interplay of light and shadow, refabricated in an indoor setting. These brief illusions gently disorient the viewer. At the same time, the surrounding architectural elements—walls, floors, lighting—serve as subtle reminders of the dynamics between sensory immersion and grounded reality. Whether it’s a shimmering flicker or a snippet of information, once documented and reimagined, they detach themselves from functionality and become a site for reading, interpretation, and storytelling. It is in the gaps between each clue (data point) and within the glow of every ephemeral glint that stories begin to take shape.
Like a meandering walk punctuated by moments of surprise, One by One, We Pick ___ Up weaves together sensory perception, visual impressions, and narrative cues. It is a space for accidental discoveries through acts of noticing. More than a title, it is a call to participate: to wander, to attend to the near-invisible, and to pick things up—one by one.
《一＿一＿撿起來》 以「拾取」作為核心概念，呼應藝術家於日常經驗中「擷取」微不足道的片刻，再透過各自擅長的美學語彙，使之重新組織與再現。兩位藝術家創作方法、美學語彙、媒材風格各異，然而其對框架機制與開放詮釋的興趣，使觀看與參與的界線在展覽中變得模糊，作品不再是靜態的物件，而是等待回應的結構，期盼隨機、互動與即興。
邱馳本次展出四件作品，從過往的經驗與感官記憶中撿拾片段，重新拼組為帶有節奏與感知張力的裝置。作品中的記憶並非被美化的懷舊，也不是完整的敘事，而是曾經令人困擾，如今被重新處理與觀看的片刻。這些片段在現場被排列、觸發、延展，形成一種介於再現與虛構之間的空間。
〈一樣的故事一直講一直講一直講〉與〈不能出去，不能進來〉來自家屋場景的記憶，〈管一定要改〉與〈水滴〉則延伸至城市中的感官經驗。作品所構成的節奏，塑造了藝術家的觀看方式，也在展覽現場中形成一種模糊觀察與參與邊界的邀請。
而吳迺菲本次展出的〈清晨〉與〈波光粼粼〉延續2023年的創作子題，試圖於室內空重現光影虛實，營造短暫的錯覺，使觀眾彷彿能沈迷於此時此刻，忘卻身處何處。週遭的展牆、地面、燈光等現有空間元素，卻也提示著感官經驗與現實場域的矛盾錯置。〈P.O.Box 524〉則出自於對紙本信與隨機性的喜愛，邀請不特定的參與者，在資訊傳播極為容易的當代，投遞文字或物件給未知的特定信箱。
輕輕碰觸易逝的浮光，採集文字、言說、數據的片段，紀錄的內涵最終在美學處置下脫離了原本的功能性，成為閱讀、詮釋、敘事的元素。參與者個人的線索與資料點之間的縫隙，恰好是理解及想像演繹的場域。
像是充滿未知驚喜的散步，旅途中各種感知、視覺體驗、敘事錨點交錯，作品誘發的意外使每一次觀看與體驗都充滿變化。《一＿一＿撿起來》不只是展覽的名稱，更是一個邀請，邀請觀眾漫步、撿拾，細細體會其中滋味。