Through the observation from cultural codes and eastern costumes, traditional paper-cut art and totem, in the Chinese society, reveal mainstream consciousness toward love, sex and felicities for “reproduction” and “normal pattern” in miniature. With the passage of time, expected role played by women should be loyal and humble.
"The shells of moral pattern" suppress female desire, bodies and soul so they don’t have self-oriented cogitation but serve others as anchor point to move. In hence, facing external changes, they are defenseless within empty shells in the patriarchal environment.
Nowadays, love and sexual connection cannot be limited by “moral pattern” or “legal framework”. Instead of ignoring the phenomenon and humanities under the surface of shell, we should face the gap between “moral surface” and “underlying reality” with open discussion.
Through the observation from cultural codes and eastern costumes, traditional paper-cut art and totem, in the Chinese society, reveal mainstream consciousness toward love, sex and felicities for “reproduction” and “normal pattern” in miniature. With the passage of time, expected role played by women should be loyal and humble.
"The shells of moral pattern" suppress female desire, bodies and soul so they don’t have self-oriented cogitation but serve others as anchor point to move. In hence, facing external changes, they are defenseless within empty shells in the patriarchal environment.
Nowadays, love and sexual connection cannot be limited by “moral pattern” or “legal framework”. Instead of ignoring the phenomenon and humanities under the surface of shell, we should face the gap between “moral surface” and “underlying reality” with open discussion.
MULTIMEDIA ARTIST
I began as a fine artist investigating realism in painting and drawing. My work has evolved into multimedia works examining the existence of matter and the tension between the perceived “surface layer” and an imagined “flowing underlying layer.” I examine this tension in diverse subject matter utilizing collaged physical everyday objects, organic textures, fluid and clay. My process usually starts with building physical collage art objects and ends up digitizing them with techniques such as frame-by-frame photography, time-lapse, photogrammetry, etc to create animation.
我早期作品以寫實繪畫為主，後來著重動畫裝置、複合媒體媒材創作，展現社會議題中「表層」與「內層」的落差、張力與並存現象。我擅長運用拼貼技法結合可觸的日常物件、材質、有機液體與黏土等，並以此為基礎進行逐格拍攝、縮時攝影與攝影測量等技術製作動態影像的部分。
Originally from Taiwan, I began as a fine artist investigating realism in painting and drawing. My work has evolved into multimedia works examining the existence of matter and the tension between the perceived “surface layer” and an imagined “flowing underlying layer.” I examine this tension in diverse subject matter utilizing collaged physical everyday objects, organic textures, fluid and clay. My process usually starts with building physical collage art objects and ends up digitizing them with techniques such as frame-by-frame photography, time-lapse, photogrammetry, etc to create animation.
Twelve years ago, observing and shooting mold growing on a wall day by day, I observed the decaying process via time, environment, and human factors. Wall mold grows, decomposes and proliferates in a similar way to more highly evolved creatures. By analyzing the conditions and the motion and comparing it to biological evolution, “Step by Step” (Stop motion, 2012) became the pilot animated film for three animation installation pieces in 2013-2014: “Semi-liquid Space”, “Breeding Ground” and “Fish-Bird Community”. These three pieces contained imaginative organic design that evolved in three different manners: living characteristics, sociological metaphor, and exploration of techniques intended to visualize the growth of the mold. I am interested in the duality of what you see versus what lies underneath.
My ideas are inspired by both the concept “Assemblage” proposed by Deleuze & Guattari, and the concept of “the flesh of the world” by Merleau-Ponty. “Assemblage” examines social complexity and its relationship to emphasizing fluidity and exchangeability. “The flesh of the world” emphasized the body as the primary site of knowing the world, the body and that which it perceived could not be disentangled from each other. These philosophies permeate my own work in both the ideation process and the visualization.
The animation installation, “Mental Black Hole” (2016) examines how people perceive depression as opposed to the invisible activity taking place in the brain. This media-based installation, in the form of physical space with three-channel projection, presents a creative interpretation of the amygdala and hippocampus’ physical manifestations of depression. In "Relation • Ship" (2018), the audience first witnesses stop-motion of “Fish Bone Queen,” giving away gifts from her body. Upon entering the virtual reality environment, the viewer is immersed in a living bodyscape.
Currently, I am working on stop-motion installation projects " Spooniverse Odyssey" and "Shellter Pluriverse". The idea aims to visualize a hyperspatial pluriverse formed by familiar tangible objects like ceramic spoons and seashells. They reflect and combine layers of visible substance and invisible spirits from nature and mind. This reality reveals their complex interconnections and exploration toward animism.
