楊子逸以單色繪畫與身體性的重複勞動作為核心結構，使時間不以敘事推進，而在反覆之中顯影其流逝與停駐的張力。藝術家借由山水自然的運行作為隱喻，將觀看引向一種更緩慢的經驗：進入山林般的感知狀態，讓眼與心在展場中暫停、回返，重新貼近那既遙遠又仍在場的水墨傳統。
作品所捕捉的是失焦的表象與模糊的過程，是持續變動的震動被短暫留置於心與筆墨之間的瞬間。展覽邀請觀者步入藝術家所靜靜投射的一方園林，在近乎無聲的場域裡，使所見與所感相互貼合，並在時間穿行於空間的流動之中，獲得共感與回聲。
Yang Tzu-Yi centers his practice on monochrome painting and the physicality of repetitive labor. In his work, time does not advance through narrative; instead, the tension between its passage and its stillness is manifested through constant repetition. Using the movements of landscape and nature as a metaphor, the artist steers the act of looking toward a slower experience—a state of perception akin to entering deep mountains and forests. He invites the eyes and the mind to pause and return within the exhibition space, rekindling a closeness with an ink tradition that feels distant yet remains profoundly present.
What his work captures are defocused appearances and indistinct processes—moments where the tremors of perpetual change are held in suspension between the heart and the brush. The exhibition invites viewers to step into a quietly projected "garden," a nearly silent sanctuary where seeing and feeling converge. Within the flow of time moving through space, one finds both resonance and echo.