This installation is a profound reflection on the accelerating dissolution of polar ecosystems. By transforming field-collected footage of polar bears and penguins into “immaterial,” translucent holographic simulacra, Yiyi Qin constructs a “hyperreal” space suspended between reality and illusion. The piles of Himalayan pink salt serve as a “material translation” of residual glaciers under the polar sunset; their chromatic contrast of warm and cool tones reflects the artist’s interpretation of polar light while metaphorically addressing the fragility of life. The imagery remains elusive through low-contrast optical tuning, appearing as a “hidden” phenomena that requires “digital capture” via smartphones or electronic devices to be fully revealed. This interactive mechanism serves as a potent metaphor: in the contemporary era, humanity increasingly perceives the vanishing natural world only through the filter of mediated memory.

此装置作品是艺术家对日益消融的南北极生态系统的深刻反思。通过将实地采集的北极熊和企鹅影像转化为“非物质性”的半透明全息拟象，秦依依构建了一个介于真实与虚幻之间的“超真实”空间。地面堆积的喜马拉雅粉盐块，是对极地夕阳下残存冰川的“物质转译”，其冷暖对位的色彩表达了作者对极地色彩转译的理解，更隐喻了生命的脆弱与消逝。作品通过低对比度的光学校调将影像“隐匿”，观众必须通过手机等电子设备的“数字捕获”才能清晰捕捉到跳跃的动物。这种交互机制深刻地隐喻了在当代语境下，人类往往只能通过媒介化的记忆去感知正在消逝的自然。