Yangbing Liu is far from a typical artist or curator. With a background in computer science, art, and biology, he has carved out a unique path that blurs the boundaries between these seemingly unrelated fields. Yang Bin’s practice goes beyond simply creating art. It’s about creating experiences that bring people, disciplines, and environments together. His understanding of art and curation is revolutionary. He sees exhibitions as dynamic, evolving entities and considers curation itself to be an artistic medium. As an artist and curator, he transforms exhibitions into living, breathing stories, where the audience is no longer a passive observer but an active participant. Works such as 2021’s ‘Beyond Nature’ and 2022’s ‘Sustainable China’ have been praised for weaving connections between art, science and community to create something much greater than the sum of its parts. I am. Mr. Yangbin believes that creating an environment that fosters interdisciplinary connections can make a huge difference in the audience experience.
Trippy Mesh: Redefining exhibition space through digital psychedelia
One of Yanbing Liu’s most ambitious projects to date is ‘Trippy Mesh’, which explores the boundaries between physical reality and virtual perception. One of the first art projects developed for Apple Vision Pro, Trippy Mesh is much more than an app: it’s an immersive journey that reimagines the spaces we live in. Yang Bin uses spatial computing to transform any physical environment into a new dimension, a dream-like altered state that makes viewers question the very nature of reality.
In “Trippy Mesh”, Yang Bin creates a world where the ordinary becomes extraordinary. A simple hallway transforms into a vibrant, pulsating tunnel. Transform your living room into a swirling forest of geometric patterns. This digital psychedelia goes beyond the limits of our senses and transforms space into a fluid, interactive, and highly emotional environment. Yangbin sees this as an extension of his mission to use technology as a bridge, blending the real and virtual to help people understand the environment and themselves in new ways.
But “Trippy Mesh” goes further, drawing inspiration from some iconic works of art and science fiction that deeply influenced Yang Bin. Liu Cixin’s concept of dimensional reduction three body problem. This sense of three-dimensional life being flattened into two resonates throughout Yang Bin’s work, evoking the visual fluidity of Van Gogh’s swirling night skies. Christopher Nolan’s *Interstellar* depiction of five-dimensional space also inspired Yang Bin, who recreated this abstract idea in an interactive and concrete form. Additionally, the influence of Edwin Abbott’s *Flatland* is undeniable. Yang Bin takes viewers through a dimensional transformation, letting them experience what it feels like to jump from a two-dimensional world into a three-dimensional space.
Vision Beyond: Evolving Trippy Mesh through curatorial ingenuity
Yang Bin is deeply influenced by the environmental art of Olafur Eliasson. Just as Eliasson mesmerized audiences with *The Weather Project* through the interplay of light and shadow, Yang Bin uses digital light effects to redefine spatial perception in ‘Trippy Mesh’. His works invite viewers to look at their environment with fresh eyes, evoking the same sense of wonder that Eliasson creates through his manipulation of natural elements. The philosophical influence of Jaron Lanier, also known as the “father of virtual reality,” is also evident. Lanier’s theory helped Yanbing explore how VR can reshape human perception. With Trippy Mesh, Yang Bin takes this redefinition even further, creating an experience that transcends physical boundaries and explores the endless possibilities of the virtual world.
Definition: Spatial Computing Art
Under Yanbing’s concept of “spatial computing art,” “Trippy Mesh” may lack traditional narrative structure, but its visual and conceptual depth makes it an immersive digital It marks a milestone in the evolution of the experience. Powered by Apple Vision Pro’s advanced features, Trippy Mesh transforms any space into a personalized, customizable environment. Viewers are no longer passive spectators, but active participants who change their surroundings with every look and movement. This work breaks the limits of traditional exhibition spaces, envisioning a future where gallery walls become obsolete and the world itself becomes a canvas. Through Trippy Mesh, Yang Bin reconsiders the role of technology in art, not just as a creative tool, but as a gateway to unprecedented experiences. This work challenges our perceptions beyond the present and invites us to embrace the endless possibilities of technology to expand the possibilities of art.
Source: Our Culture – ourculturemag.com
