815 (2025)
Installation
New Zealand Wool, Stainless Steel, Copper, Wenge Wood, Aluminum Panel
95 x 155 x 25 cm
This work articulates the trajectories of origin and terminus, along with their shared telos. Its metallic components embody a layered iconography: the UFO as formulated by C.G. Jung, an archetypal projection of the collective unconscious; a spinning top personifying aleatory randomness; and the black hole, the final cessation of time. The arrow inscribed on the top signifies an unmoored, contingent direction.The differential heights of the layered wool correspond to hierarchical orders of signification, each functioning either as
kinetic momentum or structural resistance. Within the complex system of everyday life, perpetually permeated by dynamic games of incomplete information, the path rendered visible by this work is but one singular instance amid an infinity of possible trajectories. The absolute necessity we perceive may be nothing more than contingency in disguise. Does this mean that our rational inferences will ultimately circle back to the realm of the mystical?
Oriented Inwards (2025)
Installation
North American Black Walnut, Carbonized New Zealand Pine,Stainless Steel, Copper, Spray Paint
Dimensions
355 × 175 × 750 mm
The Extension of Destiny (2025)
Installation
Stainless Steel, Arcylic, Spray Paint
400 x 400 x 1450mm
Another Anwser (2024)
Installation
Carbonized New Zealand Pine, Cinnabar (Traditional Ancient Craft), Spray Paint
Base: 650 × 650 × 80 mm
Spinning Top: 220 × 220 × 440 mm
As an artifact that has survived from ancient times to the present, the spinning top embodies humanity’s eternal fixation on the "continuity" of movement, and has become a concrete representation of time itself. The side of the work is carved with an array of logical symbols that stand for rational thinking. When its rotation slows to a stop, these precisely arranged symbols will always end up pointing in completely random directions. The carbonized wood texture and crumbling structure of the base, together with the spinning body covered in rational symbols, jointly reveal the fragility of a rational worldview in the endless accumulation of time. It goes through a continuous cyclical ritual of spinning, friction and burning, until the seemingly never-stopping spinning top splits into two, transforming into another kind of eternity. This is just like how we can never predict the final answer that awaits us at the end of time.
GEAR (2023)
Installation
Galvanised pipes, fibreglass, stainless steel, cables, lacquered
400(H)*250*180cm
The quality of continuity is broken by the wires carrying the function of information and energy transmission, the wires seem to extend to both ends of the wall and try to break free, the exhibition space is now alienated into a cage, against the "wire", the independent and quiet space loses its meaning, in contrast to the futile tightly embraced telephone pole.
No News or What Killed the Dog (2024)
Installation
Fiberglass, Ash Wood, Electroplated Lacquer, Spray Paint
Fiberglass 1200 x 730 x 185mm
Wooden Rod 150 x 27 x 27mm
The quality of continuity is broken by the wires carrying the function of information and energy transmission, the wires seem to extend to both ends of the wall and try to break free, the exhibition space is now alienated into a cage, against the "wire", the independent and quiet space loses its meaning, in contrast to the futile tightly embraced telephone pole.
.jpg)
WE WILL EVENTUALLY EMBRACE（2023）
Installation
470x60x380cm
FRP, Stainless Steel, Galvanized Iron, LED Light Board, Acrylic
Take the sacred relic "Matsya" in Tibetan Buddhism as an oracle which symbolizes breaking reincarnation. Where the two lights overlap, one lamp is destined to lose its "lighting" function, but the lamp facing each other arches the silhouette of "Matsya", together, a light is shines on the ground.
CENTIPEDE (2023)
Cast aluminum, lacquered550(H)*300*300cm | EACH 2.7*45*22cm
The viewer's gaze travels through the space that is folded, squeezed and cycled under the wormhole theory. Between the ascending staircase and the turning wall, the embodied action of the illusion draws the viewer's wandering gaze, guiding them to follow a preset trajectory. When the object leads our gaze to the highest point, the arrival of the fall signifies the beginning of a Sisyphean cycle—in this wandering of nothingness, a silent empathy pervades the audience, and we cannot join the dancing link.
CONTINUED RECURSION (2023)
Stainless steel, cast aluminium, lacquered
Base 60*240*50cm | Ball Diameter:27.0 (x 7 pieces)
Through play, the artist sees the hole-filled ball as the condensation of countless moments, gluing together the many possibilities of the past and the future, thus indicating that we are embracing with a very low degree of tolerance that exceeds expectations, that is, we lose the right to choose.
SHADE TREE (2023)
Cast aluminium, acrylic, lacquered180(H)*379*250cm
The shadow serves as a time scale, gathering street trees in different growth states in the same space.
VIPASSANA (2023)
Installation
260cm x 260cm x 200cm
Photographic Lights, Light umbrella, Metal stands
The three-way scaffold supports a continuously flashing light source, and the light emitted from the center is continuously reflected back to the body, circulating in the mindful movement of "things".
ERE (2023)
Music
This is an experimental music album produced by contemporary artist Dayou Geng and jazz composer/music producer Shaw Yuan. The entire album combines instrumental, synthesizer, and electronic music to create a state of confusion, jumping between a bright vision of the future and its absurd negation. We expect the audience to confront the absurdity of this time and here, and to jump out of the quagmire of nihilism.
Spotify: https://open.spotify.com/album/2UVdzO3fm44m9sznH0FOgj?si=bYMVqn2dSBmjrLVN10W_MQ
网易云：https://y.music.163.com/m/album?app_version=8.9.95&id=157354118&userid=362619644&dlt=0846
.jpg)
DASADISAH LAKSHMI (2021)
Space Installation
Dimension Variable
Cross laser, Wood
EREWHON (2022)
此处，无处
PLEASE CHECK THE "SOLO SHOW" PAGE FOR DETAILS
Geng Dayou
耿大有
Exhibition Address: http://dayouerewhon.art/
Duration: 2022/4/17 —— ？
<The Wall Street Journal China>
《华尔街日报中文版》
：
"It is the first virtual solo exhibition of young artist Geng Dayou, who explores the technical boundaries of the Spatial-Web to construct a massive multiplayer online (MMO) theatrical environment for relational aesthetics, and it is also the closest contemporary art practice to the metaverse under the current technology."
"这是青年艺术家耿大有的首次虚拟个展，他通过对现有空间互联网的技术边界的探索，架构起一个允许多人在线的3D剧场式的关系美学，同时这也是在目前技术下，最接近元宇宙的一次当代艺术实践。"
WSJ China：元宇宙的“元”到底意味着什么？
https://www.gengdayou.art/_files/ugd/975f41_cf180588ba974900ad3c7f6f1986171d.pdf
T Magazine：为什么你应该认识一下耿大有？
https://www.gengdayou.art/_files/ugd/975f41_db6fa7d534b748648ed172ea871a8631.pdf
Art-ba-ba by Erewhon：虚拟的当代现实与当代的艺术 姜宇辉 Jiang Yuhui
https://www.gengdayou.art/_files/ugd/975f41_d45bcae9289c4de3a6043ccf197690c5.pdf
VALHALLA (2021)
Two-channel Video, 3840 x 2160 (4K), 16’06, 16’06
Sound: Shaw & Dayou
Shaw: Chinese jazz guitarist/composer/producer and jazz researcher. Double M.A. in Jazz Guitar and Music Production.
Shaw 公众号：https://mp.weixin.qq.com/mp/profile_ext?action=home&__biz=MzIyNTAwOTE0NQ==&scene=124#wechat_redirect
ERDA (2021)
Space Installation
Dimension Variable
Light brick, Floor scale, Weighing controller, LED screen, Oil paint
γν θι σεαυτ ν
Know Yourself
From Delphic Maxims
OLYMPIANS’ LAUGH (2021)
Space Installation
Dimension Variable
LED, Glass, Filament lamp
.jpg)
STYX RIVER (2021) PERFORMANCE
Photography/Giclée
100 x 100cm
it is a set of video records of performing arts. The artist himself regains the educated respect for the flame through direct contact between the body and the flame, through the feeling of pain. The flame ignited by the liquid fire (alcohol) became the source of reverie like a candle on the table. It recorded the portrait of the flame before his death, and also recorded the moment of the artist's struggle when he was burnt.
RECURRING TRIP (2021)
Print, A5, p144
THE TREE ON THE MOUNTAIN (2021)
Space Installation
Dimension Variable
Weathervanes, Light bricks, Explosion proof fans
MATANGI’S DAUGHTER (2021)
Performative Installation
Dimension Variable
Light brick, Wood, Glass, Iron chain, Reciprocating motor, Aluminium alloy
UOMOVITRUVIANUS (2021)
Performative Installation
60 x 30 x 170 cm
Light brick, Reciprocating motor, Aluminium alloy
RIPPLES (2021)
Performer: Gaurav Singh Nijjer
Performer (in the video): Julian Zhang, Styles Li
Sound designer: Trevor White
Composer: Mingji Wang
Visual designer: Effie Gu
Costume designer: Jaxi Liu
Deviser: Jiuming Duan
Graphic Designer: Yitong Feng
Videographer: Leo Zhu
HUMAN WORKSHOP (2020)
Video Game
Dayou Geng（Game/Sound Design）Mingxuan Xie（Programming/Graphics）
The core game mechanics:
1. WSAD walks around. Space jump, F key to eat or open the door, F5 refresh the level.
2. Food and satiety value: You will get food in a specific room (the room where you go up initially) to fill up your satiety value. A low satiety value will affect your vision.
3. Room: The game consists of multiple rooms that are similar but have different internal structures and are connected to each other.
4. Doors: Each room has a certain number of doors, and some doors can go to the next room.
GALLERY MUST BLAZE（2021）
Installation
Wood, Brick, Canvas
Dimension Variable
AR App Screen Recording courtesy of Xie Mingxuan
https://mingxuan.fun/work/2021/04/17/gallery-must-blaze.html
