一張符咒，可以治病驅邪。一顆數位蔬菜，可以成為數據時代的隱喻。

在藝術家張峻峰（Junfeng Zhang）的世界裡，兩者並存。他的創作跨越平面設計、實驗字體、3D渲染與藝術裝置，卻始終圍繞著同一個核心命題：傳統文化如何在數位時代找到新的語言？

A Daoist talisman can heal and ward off evil. A digital vegetable can become a metaphor for the data age.

In the world of artist Junfeng Zhang, both coexist. His work spans graphic design, experimental typography, 3D rendering, and art installations — yet all revolve around the same core question: how can traditional culture find a new language in the digital age?

張峻峰的創作之路，始於三座城市、三種教育體系。他在愛爾蘭都柏林理工大學取得學士學位及雙學位，在美國芝加哥藝術學院獲得視覺傳達設計碩士，目前正在澳門大學攻讀藝術學博士學位。這種跨文化的學術背景，直接反映在他的作品中。他的設計語言既根植於中國字體傳統，又具備國際化的嚴謹與當代感。

Junfeng Zhang‘s creative journey began in three cities and three educational systems. He earned his bachelor’s degree and a double degree from Technological University Dublin in Ireland, obtained his MFA in Visual Communication from the School of the Art Institute of Chicago (SAIC), and is currently pursuing a PhD in Fine Arts at the University of Macau. This cross-cultural academic background is directly reflected in his work.

張峻峰最知名的持續創作項目，是「數位農場」系列。他以像素與字符化的方式，將日常食物重構為「未來的珍稀食材」——「蔥明絕頂要發財辣」（青蔥）、「知薯達理」（馬鈴薯）等作品，在規整有序的數位代碼之中，這些食物既是完美的，也是失真的；既是永恆的，也是脆弱的。

Junfeng Zhang’s most renowned ongoing project is the “Cyber Farm” series. Using pixels and digitized characters, he reimagines everyday food as “rare future ingredients” — works like “Smart Green Onions” and “Knowledgable Potato” present these foods as simultaneously perfect and distorted, eternal and fragile, within orderly digital codes.

2026年1月，他在長沙233藝術社區舉辦了「野土未來菜市場」個展，以像素與數位化的方式重構「未來的珍稀食材」。展覽中，一根日本熊本有機長茄售價5200元人民幣，一公斤加拿大育空野生藍莓標價9800元人民幣——這些荒謬的價格背後，是對當今環境污染與食物安全問題的尖銳提問。正如展覽所說：「這並非對未來的悲觀預言，而是一聲溫柔的提醒。願我們以此刻的選擇，守護那個依然可感、依然充滿生機的明天。」

In January 2026, he held the solo exhibition “Wildland Future Market” at Changsha 233 Art Community, reconstructing “rare future ingredients” through pixelation and digitization. In the exhibition, a single organic Japanese long eggplant from Kumamoto was priced at 5,200 RMB, and a kilogram of wild Yukon blueberries from Canada was listed at 9,800 RMB — behind these absurd prices lies a sharp question about environmental pollution and food safety today. As the exhibition stated: “This is not a pessimistic prophecy of the future, but a gentle reminder. May we, through our choices today, protect the tomorrow that remains tangible and full of vitality.”

除了食物，張峻峰也將「保鮮」的概念延伸到人際關係上。他的作品《夫妻保鮮箱》將十份簽好的離婚協議書冷凍在冰袋中，每個冰袋包裝上印著一個離婚故事和QR Code，掃描後可聽到解說錄音。冰袋被裝進發泡膠箱，像街邊隨處可見的冷凍食品——情感被當作商品陳列，冰袋能暫時保冷，卻終究無法逃脫融化的命運。簽好的協議不會改變，面對既有的婚姻現實，這一切終究是徒勞。

Beyond food, Junfeng Zhang extends the concept of “preservation” to human relationships. His work “Frozen Vows” freezes ten signed divorce agreements in ice bags. Each bag bears a divorce story and a QR code — scanning it plays a recorded narration. The ice bags are placed in foam boxes, like frozen food sold on the street — emotions displayed as commodities. Ice bags keep things cold temporarily, but they cannot escape melting. A signed agreement won’t change. Faced with the reality of marriage, it is ultimately a futile struggle.

張峻峰的《量子冰魂》以冰的形態變化——固態、液態、氣態——回應一個古老的問題：意識是否隨肉體消亡而終結？作品的靈感來自彭羅斯（Roger Penrose）與哈梅羅夫（Stuart Hameroff）的「協調客觀還原」（Orch OR）理論。他們認為大腦微管中的量子過程可能產生「量子意識」，而這種意識不一定會隨身體死亡而消失。冰融化成水，再蒸發為水蒸氣，只是狀態的改變，而非本質的消失。張峻峰借用這個物理現象，將「量子意識」比擬為一種暫時離開人體、漂浮於宇宙中的存在形式——就像冰變成水蒸氣，意識或許只是換了一種形態，繼續存在於某個我們尚未理解的維度。

Junfeng Zhang’s “Quantum Ice Soul” uses the changing states of ice—solid, liquid, vapor—to address an ancient question: does consciousness cease to exist when the body dies? The work is inspired by the Penrose-Hameroff “Orchestrated Objective Reduction” (Orch OR) theory, which suggests that quantum processes in brain microtubules could generate a form of “quantum awareness” that might not disappear with bodily death. Ice melting into water, then evaporating into vapor, is merely a change of state, not an annihilation of essence. Zhang borrows this physical phenomenon to compare “quantum awareness” to a form of existence that temporarily leaves the body and floats through the universe — just as ice becomes vapor, consciousness may simply change form and continue to exist in a dimension we have yet to understand.

2020年新冠疫情期間，張峻峰開始了一個將道教符咒與現代藥理學結合的創作項目。他研究病毒形狀，將其繪製在符咒之上，創造出一種「當代符咒」。他還將微小的符咒放入膠囊，形成一種特殊的「藥」。「透過這些個人化的儀式，表達人們面對疾病時的無奈、焦慮與掙扎。」他在創作自述中寫道。疫情期間，他直接將符咒畫在口罩上，甚至貼在口罩表面。這個項目將道教的「畫符」傳統——以點、線、字組合而成的神秘圖像，據信具有驅鬼、治病、消災等功能——轉化為一種面對當代健康焦慮的視覺回應。傳統與現代，在膠囊與口罩之間相遇。

During the COVID-19 pandemic in 2020, Junfeng Zhang began a project that combined Daoist incantations with modern pharmacology. He studied the shapes of viruses and drew them onto talismans, creating a “contemporary incantation.” He also placed tiny talismans into capsules, forming a special kind of “medicine.”

“Through these personalized rituals, I express people’s helplessness, anxiety, and struggle in the face of disease,” he wrote in his artist statement. During the pandemic, he drew talismans directly onto masks, and even pasted them onto mask surfaces.

This project transforms the Daoist tradition of “drawing talismans” — mystical images composed of dots, lines, and characters, believed to have the power to drive away ghosts, heal diseases, and dispel disasters — into a visual response to contemporary health anxieties. Tradition and modernity meet between capsules and masks.

張峻峰的作品已獲得超過100項國內外藝術設計獎項及展覽入選，包括東京TDC提名獎、紐約ADC年度獎Merit Award、美國MUSE設計金獎、美國CA傳達藝術獎、Award360°年度設計獎、澳門設計大獎、靳埭強設計獎、日本JAGDA學生獎等。

他的作品曾在日本富山、芬蘭拉赫蒂、墨西哥、俄羅斯金蜂國際海報展、玻利維亞、美國、波蘭、韓國、香港等地展出。其設計作品被美國芝加哥藝術學院JFABC圖書館、香港文化博物館、武漢影像藝術中心等地永久收藏。

Junfeng Zhang’s work has received over 100 domestic and international art and design awards and exhibition selections, including the Tokyo TDC Award, New York ADC Annual Award Merit Award, MUSE Design Gold Award, Communication Arts Award, Award360° Annual Design Award, Macau Design Award, and the JAGDA Student Award.

His works have been exhibited in Toyama (Japan), Lahti (Finland), Mexico, the Golden Bee International Poster Exhibition in Russia, Bolivia, the United States, Poland, South Korea, and Hong Kong. His designs are held in permanent collections including the JFABC Library at the School of the Art Institute of Chicago, the Hong Kong Heritage Museum, and the Wuhan Image Art Center.

小貼士 TIPS

張峻峰的作品提醒我們——傳統從來不是靜止的。它像水一樣，會流動、會變形、會找到新的容器。數位是今天的容器，而文化，是永遠不乾涸的水。下次你看到一張符咒、一顆像素蔬菜、或一串實驗字體，也許可以想一想：我們這個時代的「傳統」，正在被誰重新書寫？

Junfeng Zhang’s work reminds us that tradition is never static. It flows like water, shifts form, and finds new vessels. Digital is today’s vessel, and culture is water that never runs dry. Next time you see a talisman, a pixelated vegetable, or an experimental typeface, think about this: who is rewriting the “tradition” of our time?

賽博農場的電子蔬果日曆 Cyber Farm’s Electronic Vegetable andFruit Calendar

圖片提供: 藝術家張峻峰 Courtesy of: artist Junfeng Zhang