當觀眾戴上虛擬實境頭戴式裝置，日常現實隨即被暫時切離，身體進入一個封閉、沉靜而高度集中的感知場域。這個由影像、聲音、運動與時間共同構成的黑盒空間，使觀看不再只是視覺的接收，而成為一種穿越邊界、重新定位自我與他者關係的經驗。

When viewers put on a virtual reality headset, everyday reality is momentarily suspended, and the body enters an enclosed, quiet, and highly concentrated field of perception. In this black-box space, composed of moving image, sound, motion, and duration, viewing is no longer merely an act of seeing, but a passage across thresholds through which the relation between self and other is reoriented.

本展以「黑盒織造」為中文主題，並以 Entangled Voids 作為英文展名，從動畫與虛擬實境相互交會的條件出發，思考個體如何在封閉的感知空間中經驗孤獨，又如何在影像、互動與記憶的流動之中生成連結。所謂「黑盒」，既指向展覽空間，也指向觀者戴上頭顯後所進入的感官容器；而「織造」則不僅是形式的交織，更是關係、時間與情感層次的逐步構成。英文標題中的 Entangled Voids，則進一步將這種狀態轉化為更具當代性的命題：每一個孤立的感知場域並非彼此封閉，而是在不可見的層次中相互纏結、彼此牽動。

With Black Box Weaving as its Chinese title and Entangled Voids as its English title, the exhibition begins from the encounter between animation and virtual reality to consider how solitude is experienced within a closed perceptual environment, and how connection emerges through image, interaction, and memory in motion. The “black box” refers not only to the exhibition space, but also to the sensory chamber entered through the headset. “Weaving,” in turn, suggests more than formal interlacing; it points to the gradual formation of relations, temporalities, and affective layers. The English title, Entangled Voids, reframes this condition through a more contemporary proposition: each seemingly isolated perceptual field is never entirely sealed, but remains invisibly bound to others.

展覽選入三部沉浸式動畫作品：《Ito Meikyū》、《Jack & Flo》與《鏡子》，分別從不同的美學路徑與技術條件，展開對空間、陪伴與記憶的探索。《Ito Meikyū》從日本古典文學與繪畫視角出發，將文字、絲線、建築與碎形結構轉化為可遊走的非線性迷宮，使觀者在漂浮與穿行之間，進入近乎冥想的觀看狀態。《Jack & Flo》則以角色敘事與互動機制為核心，將繪本式動畫世界轉化為可被身體步入的三維空間，讓連結不再只是故事中的情節，而是觀者在場與參與所觸發的感知事件。《鏡子》透過 3D 偶動畫與 2D 版畫質地的交錯，召喚家庭內部關於複製、衝突與依附的情感結構，將私人記憶轉化為一座具有心理厚度的沉浸式劇場。

The exhibition brings together three immersive animated works — Ito Meikyū, Jack & Flo, and Mirror — each tracing a distinct aesthetic and technical approach to space, companionship, and memory. Drawing from classical Japanese literature and pictorial traditions, Ito Meikyū transforms text, threads, architecture, and fractal structures into a navigable non-linear labyrinth, inviting viewers into a state of drifting contemplation. Centered on character and interaction, Jack & Flo translates the visual language of the picture book into an inhabitable three-dimensional world, where connection is no longer simply narrated but enacted through presence and participation. Through the collision of 3D puppet animation and the raw texture of 2D printmaking, Mirror evokes emotional structures of repetition, conflict, and attachment within the family, turning private memory into an immersive theatre of psychological density.

從非線性迷宮的漂移、到互動關係的生成，再到家族記憶的折返與映照，本展試圖打開一條關於「孤獨與共生」的觀看路徑。在虛擬實境之中，孤獨不再只是隔絕的結果，也可能成為感知被重新打開的起點；而共生亦不必然指向穩定和諧的關係，而是彼此靠近、彼此牽引、彼此承受的複雜過程。透過動畫線條、聲音紋理、空間結構與身體經驗的交會，展覽邀請觀眾走入這些彼此纏結的虛空，在觀看之中重新感受自我、他者與世界之間尚未被說盡的關係。

Moving from the drift of a non-linear maze, to the emergence of interactive relation, to the return and reflection of familial memory, the exhibition opens a path through which solitude and coexistence may be reconsidered. In virtual reality, solitude is not only a condition of separation, but also a point at which perception may be reopened. Coexistence, likewise, does not necessarily imply harmony; it may also describe the complex process of approaching, pulling, and bearing one another. Through the intersection of animated lines, sonic textures, spatial structures, and embodied experience, the exhibition invites audiences into these entangled voids, where the relations between self, others, and the world remain suspended, unsettled, and newly perceptible.

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