纠缠，而后日以作夜纠缠，而后日以作夜外滩大会AI概念艺术展 · Inclusion 2026 — AI Concept Art Exhibition
Three Births
作品 · Artwork
《三生》，参数化打印陶瓷。在景德镇千年制瓷的土壤上，我尝试引入另一重“作者”——先以犀牛（Rhino）进行参数化建模，搭建形态的骨架，再借助人工智能生成工具对造型反复迭代、变异、再生成；最终通过陶瓷 3D 打印，将这些原本只存在于屏幕中的数字造物“落地”为可触摸的实体，经手工施釉、入窑高温烧制，完成一次从虚拟到物质的转译。
作品名来自这条转化链本身：人起念，AI 译形，火定形——三种力量各自完成自己唯一能做的那一步，缺一，都不能成器。起念只发生在人身上；AI 真正能介入的只有一个环节——把想法翻译成语言与图像；而生坯进窑之后，还有第三种力量介入：窑火不懂算法，也不懂我的画，只按温度、釉料与气氛行事，任何一丝波动都会在最后一刻重新定义作品的表面与轮廓。这是全过程中唯一一个连我和 AI 都无法预演、无法撤回的环节。
四件作品分别站在这条转化链的不同位置上——从最初、只属于人的起念（《原梦》），到 AI 唯一介入的翻译（《气象》），到尚未定形的液态中间地带（《未定》），再到窑火压出的最终形状（《挤生》）。所有造型均以陶瓷完成：这是一种比算法古老得多的物质技术，脆弱、需要等待、无法撤销重来，恰与 AI 生成的即时、可迭代形成对照，也让每一件作品都携带着窑火留下的、无法被算法预测的偶然痕迹。
"Three Births", parametric printed ceramics. On the soil of Jingdezhen's thousand-year porcelain tradition, I introduce another "author": first building the skeleton of the form through parametric modeling in Rhino, then using AI generation tools to iterate, mutate, and regenerate the shape. Through ceramic 3D printing, these digital creations—which existed only on screen—land as tangible objects, then are hand-glazed and high-fired, completing a translation from the virtual into the material.
The title comes from that chain of transformation itself: the human conceives, AI translates form, fire fixes form. Each force completes the one step only it can perform; remove any one and no object comes into being. Conception happens only in a human body. AI intervenes at a single point—translating an idea into language and image. Once the greenware enters the kiln, a third force takes over: fire understands neither my drawing nor the algorithm, obeying only temperature, glaze, and atmosphere, and the slightest fluctuation redefines surface and contour at the last moment. It is the only stage neither I nor AI can rehearse or undo.
The four works stand at different points along this chain—from the earliest conception belonging solely to the human ("O-Dream"), to the single moment of AI translation ("Chladni"), to the liquid, not-yet-fixed middle ground ("Unfixed"), to the final shape pressed out by kiln fire ("Squeeze-Born"). All forms are realized in ceramic: a material technology far older than any algorithm—fragile, requiring patience, impossible to undo—standing in contrast to the instant, iterable nature of AI generation, and leaving each work marked by accidents of the kiln that no algorithm could predict.
背景 · Background
这批作品源于一个持续的追问：思想是怎么进入物质世界的。我目前找到的、最接近真相的答案是——想法不会独自抵达物质，它需要经过三次不可替代的转化：人起念，AI 译形，火定形。这也是“三生”这个名字的来处：三种力量，生出了眼前这件器物。
能量凝结为精神力，精神力沉淀为感知，感知才最终显影为一个念头——这条路径完全在身体与意识内部完成，看不见，此刻 AI 还插不上手。AI 真正能介入的，是把想法翻译成语言与图像：它不产生念头，也无法替我感知，只是在我已经把念头落成图像之后，对这张图像做一次算法层面的再翻译、再生成——像是把一句话交给一个陌生但敏锐的译者，看它会带回怎样的偏差与惊喜。
These works come from a continuing question: how does thought enter the material world? The closest answer I have found is that an idea never reaches matter alone—it requires three irreplaceable transformations: the human conceives, AI translates form, fire fixes form. Energy condenses into spirit, spirit settles into perception, and perception finally develops into a thought—a path completed entirely inside the body and consciousness, invisible, where AI still has no purchase. What AI can genuinely do is translate an idea into language and image: like handing a sentence to an unfamiliar but acute translator and seeing what deviation and surprise it brings back.
概念 · Concept
01《原梦》· 起念 思想不是从“想”开始的。这件作品的起点不是一张构思草图，而是一场梦——一个自己也说不清来处的画面，先于任何语言和意图。有意思的是，AI 生成模型本身也是一种“集体无意识”，由无数陌生人的图像训练而成：我梦里浮现的原型，跟 AI 从海量图像里“梦”出来的东西，到底有什么本质区别？以景德镇传统黑釉高温烧制，釉面如凝固的熔浆。
02《气象》· 译形 讲的是“译形”本身——AI 把一样看不见的东西翻译成图像时，到底在做什么。题目直接就是“能量”本身：一种无形的振动、聚散、流转。同一份看不见的能量，每次转述都带出不同口音。釉色选用青瓷，承袭景德镇窑变千年的温润与不可复制的偶然性。
03《未定》· 译形与定形之间 陶瓷成器之前一直是液态的：打印挤出的泥料是湿的，生坯是软的，只有经过窑火才第一次、也是唯一一次从液态变成不可逆的固态。这件作品探索的正是这个中间地带——“想法”最接近液体的那个瞬间，还没有被任何人（包括我自己）宣判“就是这个样子”。
04《挤生》· 定形 两具被挤压在一起的身体，分不清哪只手属于哪具躯体。挤压没有让它们简单合并，而是挤出了第三种东西——一个既不是甲也不是乙、只在“挤压”这个动作里才存在的新状态。这跟“三生”是同一个逻辑发生了两次：人、AI、火三种力量挤压出一件陶瓷；画里两具身体的挤压，也挤出了第三种东西。
The four works sit at four points along the chain: "O-Dream" (conception, before language and before AI), "Chladni" (the moment of AI translation), "Unfixed" (the liquid state between translation and fixing), and "Squeeze-Born" (the final form pressed out by fire).
更多说明 · Notes
材料与工艺：犀牛（Rhino）参数化建模 + 人工智能生成工具设计｜景德镇陶瓷 3D 打印、手工施釉、高温烧制。
釉色：《原梦》高温黑釉瓷｜《气象》传统青瓷釉｜《未定》白瓷｜《挤生》青瓷 + 甜白瓷。
Materials and craft: Rhinoceros (Rhino) parametric modeling + AI generative tool design; Jingdezhen ceramic 3D printing, hand-glazing, and high-temperature firing.
Glaze: Yuànmèng (Dream of Origin) high-temperature black glaze; Qìxiàng (Meteorology) traditional celadon glaze; Wèidìng (Undecided) white porcelain; Jǐshēng (Crowded Life) celadon + sweet-white porcelain.
致谢 / 备注 · Acknowledgments
特别鸣谢：霍星宇 Mars
导演/摄影指导，来⾃北京，毕业于Emerson College，获得电影BFA学⼠学位。在纽约联合创办 FLYING KID FILMS 独⽴影视⼯作室；与纽约时装周独⽴设计师合作时尚短⽚NEITHER ；聚焦纽约南美政治庇护难⺠，导演摄影纪录⽚ David, Futbol ；摄影指导科幻题材作品 Year One ⼊围参选美国电影摄影师协会(ASC Academy Awards)学院奖。个⼈作品⻛格鲜明，着眼于⼈性、社会与爱，热衷于探索内容和形式、技术和意识的结合。作品⻆度偏向尝试寻找虚幻和现实的重叠与边界，善于通过细节捕捉⽣活中的平凡时刻，并将它们转化为诗意的电影语⾔。
Special Thanks: Huo Xingyu Mars
Director/Director of Photography, originally from Beijing, graduated from Emerson College with a BFA in Film. Co-founded FLYING KID FILMS, an independent film studio, in New York; collaborated with independent designers at New York Fashion Week on the fashion short film NEITHER; directed and photographed the documentary David, Futbol, focusing on South American political asylum seekers in New York; served as Director of Photography on the sci-fi project Year One, which was a finalist for the American Society of Cinematographers (ASC Academy Awards) Student Heritage Award. His work is marked by a distinctive style, with a focus on humanity, society, and love, and a deep commitment to exploring the integration of content and form, technology and consciousness. His perspective tends to seek out the overlap and boundaries between the illusory and the real, excelling at capturing ordinary moments in life through subtle details and transforming them into poetic cinematic language.
艺术家 · Artist
Ma Yingxuan (Sam Ma)
马英轩（Sam Ma），建筑师、设计师、艺术家，xuanite.lab 创作者。本科毕业于罗德岛设计学院（Rhode Island School of Design），主修建筑学与计算艺术（Architecture and Computation Art），此前曾于多伦多大学修读计算机工程。这段横跨工程、建筑与艺术的训练，让他习惯用参数化、算法与数据的语言构想造型，也始终关注 AI、哲学与人文如何在设计与艺术的交界处相互塑造。
在校期间及毕业后，他先后参与哈佛大学 CAMLab 关于“洞穴舞蹈与具身建筑”的展览设计与模型制作、哥本哈根 DIS 研究项目（历史建筑期刊研究，足迹遍及丹麦、美国与意大利）、邵韦平 UFO 工作室（BIAD）的数据处理与建筑设计工作，并于 2025 年在多伦多 Gagné Contemporary Projects 策划并参展“Youth Mode”新锐艺术家群展。目前于 NOLLISTUDIO 从事建筑可视化与三维场景搭建。
《三生》是他第一次把这套训练系统地转向陶瓷——以犀牛（Rhino）与人工智能生成工具设计形态，在景德镇完成 3D 打印与烧制，让参数化的、算法生成的造型第一次落地为不可逆的实体。这既是他个人训练路径的一次收束，也是这批作品本身想要回答的问题：思想——无论来自人的意图还是算法的生成——最终要如何进入物质世界。
Ma Yingxuan (Sam Ma) is an architect, designer, and artist, and the creator of xuanite.lab. He holds a bachelor's degree from the Rhode Island School of Design, majoring in Architecture and Computation Art, and previously studied computer engineering at the University of Toronto. This training across engineering, architecture, and art has led him to conceive form through the language of parameters, algorithms, and data, and to remain attentive to how AI, philosophy, and the humanities shape one another at the intersection of design and art.
During and after his studies, he contributed to exhibition design and model making for Harvard CAMLab's "Cave Dance and Embodied Architecture", the DIS Copenhagen research program on historical architecture journals (with fieldwork across Denmark, the United States, and Italy), and data processing and architectural design at Shao Weiping's UFO Studio (BIAD). In 2025 he curated and exhibited in "Youth Mode", a group show of emerging artists at Gagné Contemporary Projects in Toronto. He currently works at NOLLISTUDIO on architectural visualization and 3D scene building.
"Three Births" is the first time he has systematically turned this training toward ceramics—designing forms with Rhino and AI generation tools, then 3D printing and firing them in Jingdezhen, so that parametric, algorithmically generated forms land for the first time as irreversible physical objects. It is both a convergence of his own training and the question these works set out to answer: how does thought—whether it originates in human intention or algorithmic generation—finally enter the material world?
我关心的不是“如何使用 AI”，而是当 AI 进入创作之后，创造这件事本身由谁完成。在《三生》里，我把它拆成三种力量：人起念、AI 译形、火定形——人的意图、机器的生成、自然（窑火）的不可控，各自完成一步不可替代的转化，缺一都不能成器。
由此展开的几个具体议题：一、AI 与人的创造力——念头只发生在人身上，AI 真正能介入的只有“把想法翻译成语言与图像”这一环，那么创作的主体性边界究竟在哪里？二、AI 与传统手工艺——算法的即时与可迭代，对上手工艺的时间、经验、误差与不可撤销，两者能否形成新的创作关系？三、AI 与自然——自然本身就是一种复杂的生成系统，窑火不懂算法，只按温度、釉料与气氛行事，却在最后一刻重新定义作品；这种不可预演的偶然，正是 AI 无法replicate 的部分。四、人与非人智能的共生——未来的创造，是否会从“人创造物”走向“人、机器与自然共同创造”。
My interest is not in "how to use AI", but in who actually performs the act of creation once AI enters the process. In "Three Births" I separate it into three forces: the human conceives, AI translates form, and fire fixes form—human intention, machine generation, and the uncontrollable nature of the kiln each complete one irreplaceable transformation; remove any one and no object comes into being.
This opens onto several concrete topics: (1) AI and human creativity—the initial thought occurs only in a human body, and AI intervenes solely in translating an idea into language and image, so where does creative agency actually begin and end? (2) AI and traditional craft—can the instantaneous, iterable nature of algorithms form a new relationship with the time, experience, error, and irreversibility of handcraft? (3) AI and nature—nature is itself a complex generative system; the kiln understands neither my drawing nor the algorithm, obeying only temperature, glaze, and atmosphere, yet it redefines the work at the last moment. (4) Symbiosis between human and non-human intelligence—whether creation moves from "humans making objects" toward humans, machines, and nature creating together.