生於1991年台北，台灣。張般源於2016至2017期間曾服役於消防隊，服役期間所經歷的種種救護與救災的生命機驗帶給了張般源創作上的典範轉移。開始將創作從從對認同政治與殖民的想像（『來自國遺產的冥想』）轉移至人類主體與其身份編碼解散的轉移與想像（『下潛至銀河路徑的想像』）。
張般源的創作以繪畫、裝置與雕塑為主，關注於技術科學與身體之間的關係。探討這資訊時代中，身體的易碎性與「自我」的多元性因在（生物、醫學）技術科學的凝視下所產生了在對生命、身份與自然詮釋以外的異質性觀點有著何種想像的可能？透過想像身體在未來生物技術所揭露的型態，藉由對種種「未知」的型態想像的「展示」(display)、無註釋的類圖鑒式繪畫等，進行一種介於作品間的場景相互連結與構成，作為對科技的可視化力量及其未來景象的想像。既不是一種對烏托邦的遙想，也不是一種對敵托邦未來的投射，而是一種介於兩者之間的拓延。
Born in 1991 in Taipei, Taiwan. After having served in the fire brigade, BAN YUAN CHANG faced a paradigm shift from the focus of the identity politics and colonization ( Meditation from the Empire Legacy) to focus on posthuman turn and its disidentification politics (The Ways to Dive into the Galaxy). BAN YUAN CHANG's art practice are mainly paintings, installations and sculptures, and he is interested in the ambiguous incorporation of technology and the body. By exploring on the fragility of the body and the multiple enaction of "self" in this information age, what imaginations can be emerged from the gaze of (biological, medical) technology sciences in terms of heterogeneity beyond the interpretation of life, identity and nature Like possible? By imagining the form of the body that will be revealed by biotechnology in the unknown future, by imagining the "display" of various "unknown" forms, unannotated catalogue-like paintings, etc., to carry out a connection and composition of scenes between his practices, as a way of reimagining visualization of the power of technology and its future world. Neither a vision of utopia nor a projection of a dystopian future, but an in-between extension scenario.
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