In the long tradition of landscape painting, two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases. The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism. Nature was used to be either adored,encoded with messages, or subservient to mankind,to be arranged. In both cases, the image of nature is contructed and nature is constructed to echo the image. The park is an idylic tamed and domsticated wilderness. Long cuts throughout the landscapereveal ordered symmertical arrangemnets wherereason seems to have entered nature. In the gardens of the East, the literati constructed social hierachies and dialogue into the interplay of the mysterious mountain rocks - capturing time and the fleeting moments of life.Today though, at the end of all that is natural, our position has changed. It is direct and dense, without vistas - unapologetic, non-hierarchical, and notsubservient. It is at the end, where we are beyound equilibrium and far from homeostasis that we look back and forward at the same time.Déjà Vuis a frivolous attempt to reconstruct a lost origine - a slice of artificial wilderness.And so, we shall not cease from exploration, and theend of all our exploring will be to arrive where we started and know the place for the first time. This is a place that articulates the layers of procedural images of nature embedded in the flatness of a new landscape that is multi-dimensional through a constant shift in perception. Within these refractive repetitions, we are left searching with distorted orientation finding new territories in the pixelated wilderness. Based on 3D scanning and recomposing Hong Kong’s nature, Déjà Vu articulates a new landscape, post-industrial and post-natural –composed in bits and bytes - real and manufactured sublime dreams at the same time