The exhibition 'No.108' originates from artist Te Yu Wang's attentive observation of ss space space Bali, developing into a site-specific installation. Her investigation extends beyond the gallery's physical space, encompassing its subtle interactions with the surrounding environment—its rhythms, resonances and points of tension.

When approaching exhibition sites, Wang contemplates how to depict the essence of ‘here and now’ within a given space. Her creative process involves not only an awareness of form, colour, temperature, scent, and shifting light, but also an embodied engagement with the act of seeing itself—reconsidering the very notion of ‘space’.

For this exhibition, Wang was particularly drawn to a floor-to-ceiling window in the gallery. From within, one's gaze sweeps across the exterior—sand trucks speeding past, whilst the window extends into irregular wall surfaces within the building. As time passes, light filtering through creates shifting patterns across the exhibition space. These subtle viewing experiences are translated into sculptural forms, capturing and extending this fluid sensory perception.

Here, the window transcends its conventional function, becoming a catalyst that shapes the exhibition's dynamic narrative. It challenges the relationships between space, work and viewer: sunlight traverses floors and walls, transforming the works' colours; whilst the ever-changing exterior scenery reframes viewing experiences. The space itself becomes an active participant, influencing perception and interpretation.

Wang describes her practice as designing invisible gestures—subtle interventions that guide bodily movement and heighten sensory awareness. Through spatial arrangements and physical objects, the exhibition invites audiences into an unfamiliar yet strangely familiar scene, where seemingly ordinary moments reveal unexpected resonances.

Thus, 'No.108' is not merely a response to space but a recalibration of the act of looking. It constructs a fluid, time-based experience in which form, colour, light and movement are continuously interwoven with the shifting presence of the viewer. Here, seeing becomes not merely a passive act but an embodied engagement.

Within this exhibition, Wang introduces five distinct actions—sliding, wiping, pressing, accumulating and collapsing—gestures that layer like accumulated memory. These actions serve both as a response to the site and as a means of reconstructing perception. In this framework, visitors become not merely observers but participants in an unfolding narrative, collectively shaping a sense of presence unique to this moment and place.

‘Each act of perception has the potential to disturb, erase, reconstruct, or reveal our relationship with the surrounding world.’ —Te Yu Wang