戴翰泓於中央大學藝文中心舉辦名為「物裡空間」的個展。試圖以「物裡」的美學空間，對具有物理空間的中央大學進行對話。對他而言，中央大學以數理方面著名，面對一個以科學理性象徵著稱的場域，如何透過藝術介入的手段重新詮釋《梯物系列》、《森林裡的遊戲＃2》和《毫宅計畫》，而使場所的不同精神與特性在對應作品上，產生新的辯證對話與不同交流，似乎成為這個展覽特殊之處。
在展出的三組作品中，木頭材質的使用作為一種共相，而將木頭改造並放置於展覽空間，身體所面對的是場域（中央大學）、展覽空間（藝文中心）與作品， 其由大變小內縮式的空間感，一如經驗森林、房子與傢俱三者般，環環相扣又不斷地在觀者所想像的空間中進行推進，這將自然的材料再放入人造空間的動作，遊走於人造與自然的對立之間，藉此建立雙向流動的對話，打開了感知與對空間性質的重新思考。創作者在作品中，針對「身體、家與其空間」進行探索，嘗試以不同的視角讓觀者透過想像走入其中。在作品《森林裡的遊戲＃2》與《毫宅計畫》中，前者利用未處理的樹木，並藉由馬達與鐵線框架出會自動開合的小門，暗指出家門與家的關聯，這類形構並建造於自然木材的人工樣態，需觀者透過移情式的作用進入作品，遊走於創作者所呈現虛實交錯的空間。相同地，後者以居高臨下之姿，類似精神脫離物質的身體於高空俯瞰，一棟棟俱有大腹地，但實質迷你的房舍，雖以削減木塊的方式製成，卻也同時呈現從木頭生長出來的錯覺，輔以複製量化與群聚的方式佈局，作為整體社會環境的縮影與投射，在此，作為展覽空間的房子中的眾多房子，產生一種空間之於身體的迴圈。然而，在作品《梯物系列》中，這迴圈更為迂迴，創作者以環繞於身體的四周，平視的的居家物件出發，將梯子、掃把、窗戶、椅子、畫架等倚靠於牆上，創作者僅以局部製作鋸齒狀的方式，將這同一性的特徵，重複出現於這些工具之上，不斷出現的幾何形狀，無助於工具作為身體延伸的功能，而是再次模擬真實空間的局部：樓梯。樓梯作為一個「連結」不同樓層與房屋空間的功能，在此變為一種象徵，作為與其他作品共同涉及之迷你身體的連結途徑，觀賞距離的調整、身體感知的轉換、視點角度的變化都成使「物」件裡面的空間，不只是「物理」的，也是精神的，具有穿透性地流轉於物理、精神與身體感知之間。
相對於科學，藝術在相當程度上無法提供解決之道，其價值偏向促使人們反思。一如家與房子的區別在於理性「認知」空間與感性「體悟」空間的不同。帶有溫暖情感與記憶的身體經驗或許無法解決生活的問題，卻提供心靈不可或缺的沈澱居所。戴翰泓的物裡空間，將場域與物件的重新排列組合，在空間性的轉變下，重新變造與擴張作品內在意義空間，藉此將真實的展覽空間、想像的虛擬空間與觀者的身體空間得以相互交錯與轉換，而使追求精神空間向度的目標成為可能。
About Nesting: Behind the Objects — Tai Han Hong’s Solo Exhibition / Lee Ming Hsueh
Artist Tai Han Hong’s solo exhibition, “Behind the Objects,” was held at the Art Center of National Central University where the artist chose to conduct a dialogue concerning physical space. The artist explores ways of reinterpreting his past works, Stairs Objects Series, The Game in the Forest #2, and Unluxurious House Plan, by corresponding the properties of his works with the spirit of the new site, an institution known for its mathematical science program and a symbol of science and reason. In doing so, the artist creates dialectical conversations and new exchanges, some of the most characteristic aspects of this exhibition.
The three sets of works share a common material: wood. With the transformation of wood and the installation of the works in a new exhibition space, viewers are confronted with a new site (National Central University), space (Art Center), and work. The viewer is propelled into the condensed space to experience the forest, houses, and furniture. The act of placing organic material in a man-made space is an investigation into the opposing forces of the natural and the artificial. It establishes a conversation that flows in both directions, opening up the viewer’s perception and inspiring them to reconsider the properties of space. The creator made a particular effort to explore “the body, its home, and its space” and also to present viewers with new perspectives to open up their imagination. The Game in the Forest #2 uses raw wood and cables that are connected to a motor, which automatically opens and closes small doors. This man-made construction of organic material hints at the idea of a door and the home it leads to. The artist-created space, in which reality and virtuality are interwoven, can only be entered when the viewer can surrender their emotions. Similarly, Unluxurious House Plan was designed so that the viewers must view it from above, like the perspective of spirits floating high above their bodies. Houses that seem to cover a wide tract of land are in fact miniatures which the artist has whittled from wood — a material that gives the work an illusion of organic growth. This effect is further aided by the arrangement of the tiny houses. Numerous and tightly packed, they serve as a microcosm of present day society. Numerous houses displayed in the building of the exhibition space create a loophole comparable to that of a body existing in space. Yet, in Stairs Objects this loophole becomes even more complex. The artist took household objects that surround us, such as stairs, brooms, windows, chairs, and easels, and leaned them against the wall and attached sawtooth shapes to them. The continuous geometric motif of staircase does not enhance the function of the objects but imitates parts of the physical object. Staircases serve to connect different levels of a building; here in miniature form, it is a symbol that connects works. The adjustment of the distance from which the works are admired, the transformation of a viewer’s perception, and the shifting of one’s perspective all make the space within objects more than just physical, but also spiritual, for it penetrate and flows between physicality, spirituality, and cognition.
To some degree, art is unlike science for it does not offer solutions; its value is more to inspire retrospection. Such as the difference between a home and a house lies in the difference between one’s cognitive sense of space and emotional experience of it. Warm sentiments, fond memories, and physical experiences might not solve realistic problems, but they do afford the soul a necessary safehouse for reflection. Tai’s exhibition “Behind the Objects” arranges sites and objects in new permutations. The shifting of space transforms and expands the scope of the significance that each work holds. This realistic exhibition space, the imagined virtual space, and the space in which the bodies of the viewers exist are able convert and transform, so that the pursuit of a spiritual space is made possible.