杨钰婕的艺术实践专注于探索工业革命后人类与自然日益加剧的脱节现象，以及人们对重新建立共生关系的焦虑渴望。她生于中国，成长在欧洲，现定居英国工作与学习，这种跨文化的成长经历为她的艺术实践奠定了独特的视角基础。杨钰婕的学术旅程始于爱丁堡大学艺术学院的动画专业本科学习，这一教育背景不仅为她提供了扎实的视觉叙事技能，更重要的是培养了她对动态图像和时间性概念的深刻理解。

Yang Yujie’s artistic practice focuses on exploring the growing disconnection between humanity and nature since the Industrial Revolution, as well as the anxious longing people feel to reestablish a symbiotic relationship. Born in China, raised in Europe, and now based in the UK for work and study, her cross-cultural upbringing forms the foundation for a unique perspective in her artistic approach. Yang's academic journey began with undergraduate studies in Animation at the Edinburgh College of Art, where she not only developed strong visual storytelling skills but also cultivated a deep understanding of moving images and the concept of temporality.

 

在爱丁堡求学期间，杨钰婕就对人类与自然关系这一主题表现出深深的着迷。她的大学作品主要围绕这一核心关切展开，包括毕业作品在内的早期创作都体现出对生态议题的持续关注。然而，随着创作实践的深入，她逐渐意识到传统的2D叙事媒介已经难以充分表达她想要探索的复杂主题，这促使她开始向三维实体媒介转向。

During her studies in Edinburgh, Yang Yujie showed a deep fascination with the relationship between humans and nature. Her undergraduate work centered around this core concern, with her early creations—including her graduation project, reflecting a sustained engagement with ecological themes. However, as her artistic practice progressed, she gradually realized that traditional 2D narrative media were no longer sufficient to fully convey the complex subjects she sought to explore. This realization prompted her shift toward three-dimensional, physical media.

 

作为一位活跃的青年艺术家，杨钰婕持续参与各种展览和艺术实践活动，作品在英国、中国都有展出。她近期的创作主要聚焦于人类迁徙活动如何入侵自然边境，以及这种入侵对当地生物生态环境造成的深远影响。

As an active young artist, Yang Yujie continues to participate in various exhibitions and artistic practices, with her work showcased in both the UK and China. Her recent creations primarily focus on how human migration encroaches upon natural boundaries, and the profound impact this intrusion has on local ecosystems and biodiversity.

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《势象系列》创作之际实际上也是在寻找画笔、色彩、画布之间的共鸣，体会生命的力量。

The Dynamic Forms Series explores the resonance between brushwork, color, and canvas. Through this process, the work seeks to capture and embody the energy of life.

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《Quiet Sound》由九件蓝晒作品构成，意在探讨生态系统中"共同灭绝"（co-extinction）的层级效应，以中国沼泽柏及其共生族群的消失，追溯一段被遗忘的生态史。

Quiet Sound consists of nine cyanotype works and aims to explore the cascading effects of co-extinction within ecosystems. By tracing the disappearance of the Chinese swamp cypress and its symbiotic community, the piece uncovers a forgotten chapter of ecological history.

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随着4000年前中国到东南亚的族群迁移传播开来，集约化农业的兴起带来了生态系统的根本性重构：大规模森林砍伐、原始湿地被改造为稻田和茶园，使得被誉为"活化石"的中国沼泽柏快速走向灭绝，并引发连锁反应，无数依赖这一物种的共生族群随之消失。

Around 4,000 years ago, as populations migrated from China to Southeast Asia, the rise of intensive agriculture fundamentally reshaped local ecosystems. Large-scale deforestation and the transformation of ancient wetlands into rice paddies and tea plantations led to the rapid decline of the Chinese swamp cypress, a species often referred to as a “living fossil”. This loss triggered a chain reaction, causing the disappearance of countless symbiotic species that depended on it for survival.

 

作品以中心一幅大画呈现微小的沼泽柏种子，周围八幅作品如科学标本般展示因其灭绝而连带消失的共生物种，这种"一对多"的视觉布局直观展现了生态依存关系和灭绝的放大效应。

The work features a large central piece depicting the tiny seed of the Chinese swamp cypress, surrounded by eight smaller works arranged like scientific specimens. Each of these peripheral pieces represents a symbiotic species that vanished as a result of the tree's extinction. This “one-to-many” visual layout offers a direct and compelling representation of ecological interdependence and the magnifying effect of extinction.

 

艺术家为这八幅作品选择了以人体器官命名：记录鱼类的作品被称为”软骨”，记录兰花的则是”虹膜"。通过将消失的物种与人类身体器官相对应，她揭示了生态系统与人类身体之间的深刻隐喻关系。每一个物种都如同生态身体中不可或缺的器官，承担着维持整体生命的关键功能，当这些"器官"逐一失效时，整个生态系统便会陷入系统性衰竭。

The artist chose to name these eight works after human organs: the piece documenting fish is titled "Cartilage," while the one depicting orchids is called "Iris." By drawing parallels between disappearing species and human body parts, she reveals a profound metaphorical relationship between ecosystems and the human body. Each species functions like an indispensable organ within the ecological body, playing a vital role in sustaining the whole. As these "organs" fail one by one, the entire ecosystem begins to suffer systemic collapse.

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另一件同期作品《Fragment》系列，呈现为一组精致的玻璃蚀刻作品，每一片都如同实验室中的标本载玻片般，被整齐地排列在定制的收纳盒中。通过精密的蚀刻工艺，艺术家在这些透明的玻璃表面上刻录下植物的细微形态，从花瓣的轮廓，到茎干的结构。

Another work from the same period, the Fragment series, is presented as a set of delicate glass etchings. Each piece resembles a specimen slide from a laboratory, neatly arranged in a custom-made storage case. Through meticulous etching techniques, the artist captures the intricate forms of plants on these transparent glass surfaces — from the contours of petals to the structure of stems.

 

然而，这种看似客观的记录方式却充满了令人不安的暗示，这些自然形态被固化在人工材料中，就像博物馆标本室中那些被化学溶液浸泡的生物样本，美丽而死寂。这种”标本化自然”的视觉策略，构成了对现代科学范式下自然观的批判，与背后的权力关系。

However, this seemingly objective method of documentation is laden with unsettling implications. These natural forms, preserved in synthetic materials, resemble biological specimens soaked in chemical solutions in museum collections, beautiful yet lifeless. This visual strategy of “specimen-izing nature” serves as a critique of the modern scientific paradigm’s view of nature and the power structures that underpin it.

 

当自然被切片、分类、标本化时，它就失去了作为活体存在的完整性和动态性，变成了可供研究、操控和消费的客体，艺术家通过玻璃这种透明媒介的选择，更是强调了这种观察行为的穿透性和侵略性。

When nature is sliced, classified, and turned into specimens, it loses its integrity and dynamism as a living entity and becomes an object for study, manipulation, and consumption. By choosing glass as a transparent medium, the artist further emphasizes the penetrative and invasive nature of this act of observation.

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