FLOW / installation

The stronger the wind, the more dramatic a flow will come through.
“Flow” is a kinetic sound sculpture that shows dynamic movements triggered by the natural wind. I consider the living surroundings with a metaphorical frame. The work represents the precarious circumstances mirroring the pandemic period of 2020. When the wind rises up, the uncanny hanging sculpture begins chiming random sounds. The uncontrollable power from wind creates different shapes and traces by crossing objects in a home-studio space, re-creating a fictional landscape echoing the visible world. I seek to convey the feeling of being swept away by dramatic changes, emphasizing the unpredictability of waiting. The hanging structure evokes the feeling of being “suspended,” describing both my inner perspective and the outside world in its “uncertainty”.

As I was Moving Ahead Occasionally I Thought About Eating

“As I was Moving Ahead Occasionally I Thought About Eating” is a large-scale “self-portrait” in the form of a media-based installation featuring an integrated system including an artificial body in a digital planting environment. Rather than literal representation, the work’s deconstruction and
reconstruction
echoes alchemical transmutation as it uses abstracted measurements to recreate in a gallery space the artist’s studio environment. At the center stands a cube-shaped totem
measured to my body, containing a camera that records images of the gallery space on a timed basis, merging observing and being observed in an infinite loop.

Dance Machine

Dance Machine is a kinetic sculpture that explores the
interactions between space and the body. This research-based project expands the extension of choreography as visual art, illustrating Yvonne Rainer’s saying: “To be moved by some, rather than by oneself.” I use a dynamic body structure through a network of points and lines to investigate the possibilities inside a frame, trying to blur the laws in space and laws of body movements. The motor reflects moving by automatic system-control. Meanwhile, the flexibility of the line causes each movement to display a subtle difference, which is further differentiated by the shifting perspectives of the audience who must choose their point of interpretation. The interposing lights and moving gestures animate a space, which highlights the experience of time, visible and invisible, mirroring the definition of Bauhaus artist Oskar Schlemmer, of light as an active force on a stage that connects with a tendency to present and not to represent.

Phase Change

Phase change is a hybrid-media installation that shows the sifting procedure as a specific ritual. I invite the audience to be a part of the work, and this happening structure aims to achieve the phase changes associated with sound, movements, and body. Both aesthetic and utilitarian, temporal process and static object, Phase Change provokes questions of identity from amidst the disruptive disciplinary tendencies inherent in the aggregate components of the work: is it a sound work, a musical compositional device, a sculpture, or an installation? Five structures made of vertical metal pipes are arranged in square, each containing a layered netting device, similar to a sifter, holding small piles of salt. Activated by technology, these bodies in space also communicate a physical and conceptual power of transformation, for the sifter gently moves from side to side, dispersing the collected pile of salt to the ground. The symbolic ambiguity of salt, as currency, alchemy, and a ritual element to ward off evil, communicates a continual state of flux and chaos which is heightened by the ambient sounds picked up by contact microphones.

One Month

Is there a path to trace in life? I used tracing paper on a table to record a month in my life, with the randomness of the dots and lines condensing everything I experienced in a month. It appeared to me that this was a pure and primitive way to record my life, taking the physical intersection between me and every object and seriously engraving it down.

One Month 2020

Time Is Irreversble

Time is irreversible, and the changes brought about by time are also irresistible. The inspiration behind this installation comes from being deeply moved by the passing of time. The movement of magnetic particles inserted into the acrylic board through the teeth of the gears creates a subtle change, with these minute particles moving under the influence of magnetic attraction, constantly released and then beginning again.

Face To Face

I take the bus every day to go to the studio, and I like to sit in the last row of the bus in order to observe what happens on the bus. The seats in the back of the bus are placed opposite each other, and those sitting opposite me caught my attention. Sometimes they would stare intently at their phones, and sometimes they would also gaze across the me, but eventually would turn to look out the window. We would never speak or even smile at each other, yet we could feel each other’s energy and I would record their various positions and movements on the bus. Photography was thus a way to record the space and people I encountered everyday during this thirty minute trip.