清影

Artist:	Wang Melting
Date:	2025.11.17-12.31
Opening:	2025.11.17, 15:00
Venue:	Inna Art Space

Inna Art Space is pleased to present the solo exhibition “Organic Digital” by artist Melting Wang, on view from November 17 to December 31, 2025. Rooted in a dual reflection on agricultural and technological logic, the exhibition showcases the artist’s recent works, exploring the tensions between nature and technology, art and labor, causality and loss of control, emergence and adaptation.

 

 

“I planted beans below the southern hill;

Brush grew lush, while bean sprouts looked sparse and still.”

— from Returning to the Gardens and Fields (III) by Tao Yuanming (Eastern Jin Dynasty)

 

 

“You reap what you sow” embodies a desire for linear causality. Farming techniques, in essence, serve to mitigate the uncertainties of nature. What humans must do is labor repeatedly and wait—wait for the outcomes promised by technique to arrive to the greatest extent possible. In the context of contemporary digital technology, the deterministic logic of computation firmly binds cause and effect, seemingly eliminating uncertainty. Yet, as individuals facing technological futures, people instead experience greater uncertainty and fatigue. On the other hand, nature—once an arbitrary arbiter of individual fate—has now become a relatively predictable “natural course.”

 

 

Melting Wang’s practice anticipates a creative force born from loss of control. It awaits the prolongation and subtle transformation of mechanical instructions during waiting, much like Tao Yuanming's “not-so-successful farming,” where unexpectedly sprouting wild grasses become a new field for redefining harvest. “Organic Digital” metaphorically reflects contemporary existential expectations: we are alienated by digital tools, yet rely on them to connect with the world. Today, the traditional master-servant relationship between humans and technological objects no longer applies. Technological objects are gradually being assigned a certain “subjective perspective.” New technological subjects are often likened to children eagerly absorbing information, self-organizing streams of water, insects, or other imaginative frontier dwellers, tangled fungi, or silently self-generating plants. By analogizing mechanically generated structures to natural forms and infusing the “randomness” of the physical world into the order of technical production, people attempt to digest or mitigate their anxiety and rejection of technology and its creations.

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Inna Art Space is pleased to present the solo exhibition “Organic Digital” by artist Melting Wang, on view from November 17 to December 31, 2025. Rooted in a dual reflection on agricultural and technological logic, the exhibition showcases the artist’s recent works, exploring the tensions between nature and technology, art and labor, causality and loss of control, emergence and adaptation.

 

 

“I planted beans below the southern hill;

Brush grew lush, while bean sprouts looked sparse and still.”

— from Returning to the Gardens and Fields (III) by Tao Yuanming (Eastern Jin Dynasty)

 

 

“You reap what you sow” embodies a desire for linear causality. Farming techniques, in essence, serve to mitigate the uncertainties of nature. What humans must do is labor repeatedly and wait—wait for the outcomes promised by technique to arrive to the greatest extent possible. In the context of contemporary digital technology, the deterministic logic of computation firmly binds cause and effect, seemingly eliminating uncertainty. Yet, as individuals facing technological futures, people instead experience greater uncertainty and fatigue. On the other hand, nature—once an arbitrary arbiter of individual fate—has now become a relatively predictable “natural course.”

 

 

Melting Wang’s practice anticipates a creative force born from loss of control. It awaits the prolongation and subtle transformation of mechanical instructions during waiting, much like Tao Yuanming's “not-so-successful farming,” where unexpectedly sprouting wild grasses become a new field for redefining harvest. “Organic Digital” metaphorically reflects contemporary existential expectations: we are alienated by digital tools, yet rely on them to connect with the world. Today, the traditional master-servant relationship between humans and technological objects no longer applies. Technological objects are gradually being assigned a certain “subjective perspective.” New technological subjects are often likened to children eagerly absorbing information, self-organizing streams of water, insects, or other imaginative frontier dwellers, tangled fungi, or silently self-generating plants. By analogizing mechanically generated structures to natural forms and infusing the “randomness” of the physical world into the order of technical production, people attempt to digest or mitigate their anxiety and rejection of technology and its creations.

 

 

In the agrarian era, humans primarily regarded the external world in two ways. One was the mutual gaze of “I see the blue hills so enchanting, / And they see me the same, I’m imagining”—a transposition of subject and object through empathy, becoming one another. The other was the dispassionate eye of “Clouds in the sky, water in the vase”—a contemplative observation of nature that severs necessary connections between things. The former is now evolving in meaning and utility in the technological age. As mechanical computation and its derivatives increasingly exhibit indifference, a restorative care becomes ever more urgent. Humans gaze upon technological creations, imagine technological objects gazing back or blissfully adapting on their own, and seek their own footing in the exchange of gazes—from “looking at it” to “being looked at by it.”

 

 

Melting Wang works in the semi-outdoor environment of a suburban farmhouse courtyard. Traces left by mechanical malfunctions on his works resemble “moss creeping up the steps,” while software-generated structures evoke the ink-wash spontaneity of plant forms. These works can be described as a kind of “produce”—they are the artist’s creations, technological artifacts, and generative entities much like crops. The “handwriting” shaped by machinery, time, and nature collectively forms the texture and memory of these works, while the artist allows randomness and loss of control to become sources of their vitality. This proposition extends beyond artistic expression. Wang treats creation as a form of farming—a collaborative cultivation between human and technology, waiting for one another, with the works themselves being emergent phenomena and delayed sustenance.

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