9月11日，上海外滩大会现场，中央美术学院毕业生郭婉钰的油画作品《幻梦鸢境》以数字艺术品形式正式亮相。一同展出的还有她在央美毕业展上的另一件现象级作品《南渡残生梦独多——李清照》。这两件作品从实体画布走向数字土壤，借助区块链技术获得可长期保存的数字生命，引发观众和行业对数字艺术与数智创作的关注。
郭婉钰因《幻梦鸢境》在央美毕业展上走红。这件作品以层层叠叠的梦幻紫色鸢尾花吸引大量目光，衍生周边市场销售额接近40万元，媒体曝光量约400万人次，她本人也因此被冠以“带货女王”的称号。然而，毕业展终会落幕，观众散去后，一幅画的生命如何延续、它与观众建立的情感连接如何不被时间冲淡，成为摆在郭婉钰面前的现实难题。对于一个创作者来说，最大的焦虑莫过于作品被人遗忘。
为了对抗这种遗忘，郭婉钰开始主动寻找出口。她在社交媒体上运营个人IP，策划个展，并推出明信片、书签、冰箱贴等各类周边衍生品，让作品以不同形态走进更多人的生活。她把这一整套从画作生产、与厂家对接、销售到与观众沟通的流程称为“OEC”，全部由一个人完成。在她看来，创作出一部作品之后，其实有非常多的可能性。
这些积极的跨界尝试，让郭婉钰逐渐走入了鲸探平台的视野。起初，她对数字艺术品并没有太大兴趣，一个整天与画布、颜料为伴的人，对“上链”这件事天然有些距离感。但本着尝试新事物的态度去了解后她发现，数字艺术品与自己对抗遗忘的诉求不谋而合：传统展览的展期通常只有15天，而经过区块链技术永久记录的数字艺术品，可以在线上数字美术馆中长期存在，被更多人看到，每一次被收藏、被持有，都是对艺术生命的一次延长。
在外滩大会现场，《幻梦鸢境》以巨大的紫色鸢尾花画作静静绽放，层层叠叠的梦幻色彩让不少观众不由自主地走近、细看，仿佛置身梦境。与之一同亮相的《南渡残生梦独多——李清照》则凭借充满故事感的视觉表达打动了许多人，堪称现象级展品。这两件作品不再是毕业展上昙花一现的佳作，而是成了可以被永久拥有和珍藏的记忆。
这种艺术表达形式的转变，实际上指向了一个更深刻的命题：在技术与时代以超越想象的速度演进时，创作者该如何拥抱变化？审美与实用、艺术与商业交织碰撞，创作者们又该如何平衡？郭婉钰的实践给出了一种可能的答案——数字技术并非要取代传统画布，而是为作品开辟新的生存空间，让艺术与观众建立更持久、更广泛的连接。
从画布到互联网，再到数字艺术品，郭婉钰完成了一次又一次的迁徙。十余年的央美学习经历为她打下扎实的创作根基，而跨界与数字化的尝试则让作品突破了物理空间和展期的限制。她的路径也为更多青年创作者提供了参照：在数智创作浪潮中，善用平台与技术，能够让艺术作品获得更长久、更旺盛的生命力。
随着越来越多创作者走向数字土壤，艺术与科技的融合或将开启新的创作常态。数字艺术品不仅为作品留存提供了技术可能，也为创作者与观众之间构建了新的互动方式。当一幅画能够在线上数字美术馆中被长期观看和收藏，艺术的价值便不再局限于一时一地的展览，而是延伸到了更广阔的数字时空。
On September 11, at the Shanghai Bund Conference, the oil painting "Dreamlike Iris Realm" by Guo Wanyu, a graduate of the Central Academy of Fine Arts, officially debuted as a digital artwork. Also on display was her other phenomenal work from the CAFA graduation exhibition, "Li Qingzhao: A Life of Wandering and Solitude." These two works moved from physical canvas to digital soil, gaining a long-term preservable digital life through blockchain technology, drawing attention from audiences and the industry to digital art and intelligent creation.
Guo Wanyu became popular at the CAFA graduation exhibition because of "Dreamlike Iris Realm." This work attracted a great deal of attention with its layers of dreamy purple irises, with derivative merchandise sales approaching 400,000 yuan and media exposure of about 4 million views, earning her the title of "Sales Queen." However, graduation exhibitions eventually end, and after the audience disperses, how a painting's life continues and how its emotional connection with viewers is not diluted by time became a real challenge for Guo Wanyu. For a creator, the greatest anxiety is that their work will be forgotten.
To combat this forgetting, Guo Wanyu began actively seeking solutions. She operates her personal IP on social media, plans solo exhibitions, and launches various derivative products such as postcards, bookmarks, and refrigerator magnets, allowing her works to enter more people's lives in different forms. She calls this entire process—from painting production, liaising with manufacturers, sales, to communicating with the audience—"OEC," all completed by herself. In her view, after creating a work, there are actually many possibilities.
These active cross-disciplinary attempts gradually brought Guo Wanyu to the attention of the Jingtan platform. Initially, she was not very interested in digital artworks; as someone who spends her days with canvas and paint, she naturally felt some distance from the concept of "on-chain." However, after learning about it with an open mind, she discovered that digital artworks align perfectly with her desire to combat forgetting: traditional exhibitions typically last only 15 days, while digital artworks permanently recorded through blockchain technology can exist long-term in online digital art museums, seen by more people. Each collection and holding is an extension of the artwork's life.
At the Bund Conference, "Dreamlike Iris Realm" bloomed quietly as a huge purple iris painting, its layered dreamy colors drawing many viewers closer to look carefully, as if immersed in a dream. "Li Qingzhao: A Life of Wandering and Solitude," displayed alongside it, moved many with its narrative-rich visual expression, truly a phenomenal exhibit. These two works are no longer fleeting masterpieces from a graduation exhibition but memories that can be permanently owned and treasured.
This transformation in artistic expression actually points to a deeper proposition: as technology and the times evolve at a speed beyond imagination, how should creators embrace change? As aesthetics and practicality, art and commerce intertwine and collide, how should creators balance them? Guo Wanyu's practice offers a possible answer—digital technology is not meant to replace traditional canvas but to open up new living spaces for works, allowing art to establish more lasting and broader connections with audiences.
From canvas to the internet, and then to digital artworks, Guo Wanyu has completed migration after migration. Over a decade of study at CAFA laid a solid creative foundation for her, while cross-disciplinary and digital attempts have allowed her works to break through the limitations of physical space and exhibition duration. Her path also provides a reference for more young creators: in the wave of intelligent creation, making good use of platforms and technology can give artistic works longer-lasting and more vigorous vitality.
As more creators move toward digital soil, the integration of art and technology may usher in a new creative norm. Digital artworks not only provide technical possibilities for preserving works but also build new interactive ways between creators and audiences. When a painting can be viewed and collected long-term in an online digital art museum, the value of art is no longer limited to a specific time and place but extends into a broader digital space-time.