打破与统一
在整体与部分的关系上看，分形打破整体与部分的隔膜，以某一种过渡的形式统一了部分与整体的意义并阐述其相似性。这种特质不仅适用于客观世界，也体现在人的主观能动性上，特别是在哲学、艺术等方面。陈英杰，拉近了美式街头涂鸦与传统中国水墨画之间的本应遥不可及的距离，打破了人们对文化与艺术的固有认识，他运用泼墨的表现手法以一种极为协调的呈现方式将截然不同的文化统一并阐述其共通处；无独有偶，胡志伟的新作，似乎成就了一种“杂交”式的新型艺术表现手法，通过日本浮世绘、中国传统文化、西方波普文化以及当代流行文化元素巧妙的融合，不仅表现了各文化差异之间的碰撞，更是从细节上寻觅不同文化与艺术之间的相似性以及共通性；方志勇，以细节带动整体，即使在虚无的视觉平面下，细节的灵动仍以个体与整体的双重形式去囊括他对于整个世界的所思所想；那危的切割型蓝白条纹是区别于其他当代艺术家的鲜明艺术符号，其既可单独进行解读也可与其作品中其他元素沟通构建起艺术家的整体精神世界与价值导向。
有限与无限
分形的哲学理论为人类认识世界提供了一种“全新”的方法论，即通过部分看整体，以有限的认知进行无限的可能性实践。张琪凯在作品《初雪》与《瑞雪》中均聚焦于某个微观的视点，激发起整件作品的内涵与张力，并以此表达宏观世界中无尽的社会与人性道德问题；虽然邹亮和郑路的作品特色与个人风格有所差异，但他们都以色彩与形态界定无形的情感，以雕塑的形式承载其无限的艺术创造。他们都试图将自身的情感实体化，并通过可能性的艺术实践表达人类无线万千的情感；杨韬擅长采用不同的艺术表达方式去呈现其对于艺术多元化以及其无限性的探索与理解。而李大捷，以“从虚无到虚无”为题，不仅阐述了事物发展的普遍规律，更是通过抽象几何结构这种具象的表现方式去释放无限情感与能量；李皓在新作《墨格》系列中，在理性定量的规范中去进行感性的抒发，从平淡中去寻觅别样的审美情趣。
多维性
雪花的微观结构正是分形的实体化展示，其激发人类关注世间万物的多维度性，这种多维度性不仅涉及客观事物，更包含思想、情感等。在秦凤玲的“滑”系列作品中，立体的作品细节跳脱二维媒介对于艺术创作的局限性，以幽默诙谐的形式反映当代的社会问题；黄玉龙的《月亮》以及与杨淞、许倬尔共同打造的浸入式装置作品《在咫尺之内再造乾坤》以最为单纯直接的方式构建起当代艺术媒介的发展趋势，运用三维作品的视觉性以及取材的亲和性唤起人们最为原始却最易被遗忘的情感；黄胜有，将艺术创作写实与抽象的观念多维度呈现在同一画面之中，使观者的观感游走在既矛盾又统一的双重概念之中，因此被其称之为“非绝对状态”。
Breaking and Unifying
Basing on the structural relationship, fractal breaks the gap between the part and the whole, using a transitional form to unify the meaning of the part and the whole for interpreting their similarity. This specialty is not only applied to the objective world but also reflected on the people’s subjective initiative, especially on philosophy, art, and other related fields. Chen Yingjie, who is closer to the distance between American street graffiti and traditional Chinese ink painting, breaks people’s inherent understanding of different arts and cultures. He uses the expressions of ink splashing in an extremely coordinated way for different cultures to unify and explain their commonalities; Coincidentally, Hu Zhiwei’s works seem to have achieved a new “hybrid” art expression. Through the ingenious integration of Japanese ukiyo-e, traditional Chinese art, Western pop art, as well as contemporary popular culture elements, he not only shows the collision between different cultures but also finds the similarity and commonality between them from the detail. Through Fang Zhiyong used details to promote the whole. Although there is a visual level of the void, the flexibility of details also could be considered as a dual form to embrace the unit and the whole, including his thinking of the world. The cutting-typed blue and white stripes are the distinct symbols for Na Wei. They can be analyzed independently or construct the artist’s mental world and the value orientation with the other elements in his works.
Finity and Infinity
The philosophical theory by fractal provides a new methodology for human beings to understand the world, that is, through the part to understand the whole, with limited knowledge to carry out unlimited possibilities of practice. In the artworks Frist Snow and Auspicious Snow, Zhang Qikai focuses on a microscopic viewpoint to motivate the deep connotation and tension of the works, then expressing the infinite social and moral problems in the macrocosm. Although Zou Liang and Zheng Lu have different artistic style, both of them like controlling colors and shapes to define the invisible motions, choosing the forms of sculptures to carry their infinite artistic creation for materializing their motions of themselves and conveying the countless human motions by the artistic practices of possibility；Yang Tao, using different artistic expressions to present his exploration and understanding of the diversity and infinity of art; With the title of Li Dajie’s new series From the Nothingness to Nothingness, the works not only expounds the universal law of the development of things, but also releases the infinite emotions and energy through the concrete representation of abstract geometric structure. In addition, fromInk Gridding, Li Hao conducts emotional sensation through rational quantitative norms and finds other aesthetic tastes in plainness.
Multidimensionality
The micromechanism of snowflake is a natural phenomenon of fractal, it can inspire human beings’ focus on the multidimensionality of all things in the world. This kind of multidimensionality not only refers to anything but also contains ideas, motions, and something else. In the Qin Fengling’s Slippingseries, the cubic details of the artworks have gotten rid of the limitation of 2D media to artistic creation, and it reflects today’s social problem by humorous forms. Huang Yulong’s Moon with the immersion device Recreating the Universe within an Inch, a cooperation of Yang Song and Xu Zhuoer, constructing the development trend of contemporary art media, and utilizing the visibility and affinity of the materials of 3D works to awaken people’s original but easily forgotten motions. Huang Shengyou presents the concept with multiple dimensions of artistic creation and abstraction in his series Non-absolute State. Thus, the audience’s perception will sweep away in the dual concept of contradiction and unity.
打破与统一
在整体与部分的关系上看，分形打破整体与部分的隔膜，以某一种过渡的形式统一了部分与整体的意义并阐述其相似性。这种特质不仅适用于客观世界，也体现在人的主观能动性上，特别是在哲学、艺术等方面。陈英杰，拉近了美式街头涂鸦与传统中国水墨画之间的本应遥不可及的距离，打破了人们对文化与艺术的固有认识，他运用泼墨的表现手法以一种极为协调的呈现方式将截然不同的文化统一并阐述其共通处；无独有偶，胡志伟的新作，似乎成就了一种“杂交”式的新型艺术表现手法，通过日本浮世绘、中国传统文化、西方波普文化以及当代流行文化元素巧妙的融合，不仅表现了各文化差异之间的碰撞，更是从细节上寻觅不同文化与艺术之间的相似性以及共通性；方志勇，以细节带动整体，即使在虚无的视觉平面下，细节的灵动仍以个体与整体的双重形式去囊括他对于整个世界的所思所想；那危的切割型蓝白条纹是区别于其他当代艺术家的鲜明艺术符号，其既可单独进行解读也可与其作品中其他元素沟通构建起艺术家的整体精神世界与价值导向。
有限与无限
分形的哲学理论为人类认识世界提供了一种“全新”的方法论，即通过部分看整体，以有限的认知进行无限的可能性实践。张琪凯在作品《初雪》与《瑞雪》中均聚焦于某个微观的视点，激发起整件作品的内涵与张力，并以此表达宏观世界中无尽的社会与人性道德问题；虽然邹亮和郑路的作品特色与个人风格有所差异，但他们都以色彩与形态界定无形的情感，以雕塑的形式承载其无限的艺术创造。他们都试图将自身的情感实体化，并通过可能性的艺术实践表达人类无线万千的情感；杨韬擅长采用不同的艺术表达方式去呈现其对于艺术多元化以及其无限性的探索与理解。而李大捷，以“从虚无到虚无”为题，不仅阐述了事物发展的普遍规律，更是通过抽象几何结构这种具象的表现方式去释放无限情感与能量；李皓在新作《墨格》系列中，在理性定量的规范中去进行感性的抒发，从平淡中去寻觅别样的审美情趣。
多维性
雪花的微观结构正是分形的实体化展示，其激发人类关注世间万物的多维度性，这种多维度性不仅涉及客观事物，更包含思想、情感等。在秦凤玲的“滑”系列作品中，立体的作品细节跳脱二维媒介对于艺术创作的局限性，以幽默诙谐的形式反映当代的社会问题；黄玉龙的《月亮》以及与杨淞、许倬尔共同打造的浸入式装置作品《在咫尺之内再造乾坤》以最为单纯直接的方式构建起当代艺术媒介的发展趋势，运用三维作品的视觉性以及取材的亲和性唤起人们最为原始却最易被遗忘的情感；黄胜有，将艺术创作写实与抽象的观念多维度呈现在同一画面之中，使观者的观感游走在既矛盾又统一的双重概念之中，因此被其称之为“非绝对状态”。
Breaking and Unifying
Basing on the structural relationship, fractal breaks the gap between the part and the whole, using a transitional form to unify the meaning of the part and the whole for interpreting their similarity. This specialty is not only applied to the objective world but also reflected on the people’s subjective initiative, especially on philosophy, art, and other related fields. Chen Yingjie, who is closer to the distance between American street graffiti and traditional Chinese ink painting, breaks people’s inherent understanding of different arts and cultures. He uses the expressions of ink splashing in an extremely coordinated way for different cultures to unify and explain their commonalities; Coincidentally, Hu Zhiwei’s works seem to have achieved a new “hybrid” art expression. Through the ingenious integration of Japanese ukiyo-e, traditional Chinese art, Western pop art, as well as contemporary popular culture elements, he not only shows the collision between different cultures but also finds the similarity and commonality between them from the detail. Through Fang Zhiyong used details to promote the whole. Although there is a visual level of the void, the flexibility of details also could be considered as a dual form to embrace the unit and the whole, including his thinking of the world. The cutting-typed blue and white stripes are the distinct symbols for Na Wei. They can be analyzed independently or construct the artist’s mental world and the value orientation with the other elements in his works.
Finity and Infinity
The philosophical theory by fractal provides a new methodology for human beings to understand the world, that is, through the part to understand the whole, with limited knowledge to carry out unlimited possibilities of practice. In the artworks Frist Snow and Auspicious Snow, Zhang Qikai focuses on a microscopic viewpoint to motivate the deep connotation and tension of the works, then expressing the infinite social and moral problems in the macrocosm. Although Zou Liang and Zheng Lu have different artistic style, both of them like controlling colors and shapes to define the invisible motions, choosing the forms of sculptures to carry their infinite artistic creation for materializing their motions of themselves and conveying the countless human motions by the artistic practices of possibility；Yang Tao, using different artistic expressions to present his exploration and understanding of the diversity and infinity of art; With the title of Li Dajie’s new series From the Nothingness to Nothingness, the works not only expounds the universal law of the development of things, but also releases the infinite emotions and energy through the concrete representation of abstract geometric structure. In addition, fromInk Gridding, Li Hao conducts emotional sensation through rational quantitative norms and finds other aesthetic tastes in plainness.
Multidimensionality
The micromechanism of snowflake is a natural phenomenon of fractal, it can inspire human beings’ focus on the multidimensionality of all things in the world. This kind of multidimensionality not only refers to anything but also contains ideas, motions, and something else. In the Qin Fengling’s Slippingseries, the cubic details of the artworks have gotten rid of the limitation of 2D media to artistic creation, and it reflects today’s social problem by humorous forms. Huang Yulong’s Moon with the immersion device Recreating the Universe within an Inch, a cooperation of Yang Song and Xu Zhuoer, constructing the development trend of contemporary art media, and utilizing the visibility and affinity of the materials of 3D works to awaken people’s original but easily forgotten motions. Huang Shengyou presents the concept with multiple dimensions of artistic creation and abstraction in his series Non-absolute State. Thus, the audience’s perception will sweep away in the dual concept of contradiction and unity.