Works

Ghosts are not merely the souls of the deceased; they exist beyond the visual realm, inhabiting a liminal space in immaterial form. While exploring the architecture of Taiwan’s streets and alleys, I encountered the spectral remnants of authoritarian rule—images of ghosts shaped by a regime that viewed Taiwan as nothing more than a temporary dwelling. This has transformed the island into a landscape saturated with the markers of consumer culture. Within the built environment and the digital traces of contemporary New Materialist thought, these intangible forces influence the physicality of the younger generation. In their absence from the grand narratives of Taiwan’s authoritarian past, these generations experience an unspoken dislocation, a sense of estrangement.

In the chaotic piles of discarded objects, the ghosts of past authoritarianism and modernity grapple within the living spaces, bound by an inescapable psychological weight. These hauntings offer a moment for deep reflection and critique.

The work employs a collage technique, where the horizontal noise mimics the pixelated obfuscations used to protect privacy in news broadcasts, transforming them into visual elements. The political totems serve as metaphors for the silenced populace, and the residents themselves become dialectical ghosts, hidden within their own history.

This animation begins with a digital sculpture, engaging in a direct conversation with the audience, to explore the very questions of its own existence. Through an ambiguous and elusive narration, it delves into the ways digital imagery perpetually evolves through repetition. The glitches and distortions of 3D textures become a performance of how, in the absence of traditional photography, the digital realm deceives the human eye.

This is a multi-channel video art work about the territorial dispute of Senkaku Islands between Taiwan, China and Japan. In this project, I utilized Processing to create a four-channel video with news about the dispute of Senkaku island from those countries. Additionally, I collected the 3D data of the island from those governmental website and displayed them on another three screen. In this work, I attempted to probe into the digital objects and the ideology behind data in our generation.

Finally, I probe into the question of how government and media display their data that reflects their political statement.

This work is based on the field researching of the Taoyuan Martyrs' Shrine(which of the Torri was demolished by the KMT government) and the abandoned temple, the Yong De Temple(which was also affected by the KMT) and using the photos, 3D objects to recreate the animation.

The old Orient traditional story, “The eight Immortals (Yong De Temple) crossing the sea”, was the main concept to connect the two places. Also, the tittle, “ninth Immortal” refers to confusion of the cultural identity in the modern Taiwanese society caused by the colonizers (The KMT government and the Japanese government). These subtle relationships between these historical truths and objects interacted with each other in the video and recreate a new narrative through the situation of the conflict in the new generations of Taiwan.

《原初點》，以一部影像論文(video essay)/實驗動畫/錄像 為開端，拉出一個聲音、書寫、影像的橫向維度連結，以傳統 三維模擬影像的人物骨架連鎖控制(character rigging)指 涉寫實的電腦模擬影像(CGI)之中，生產敘事前的角色模型 的獻身──將電腦預設的T-pose/bind pose作為與耶蘇 基督的聖十字架圖像嫁接，以及它是如何被三K黨和Z世代 挪用。再來連結影像進入「邪惡」與「虛構」之前的一種受難 前狀態。透過與《創世紀(Genesis)》的互文性，再企圖延伸 出，當代影像之中數位原民的新感覺、新邏輯、新時間是如 再創造、構成？新的事實如何透過後製影像的編修再書寫？ 資料、網路匿名性如何形成一種新的鬥爭場域？