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 like mental conditions and social phenomena utilizing collaged physical found objects, organic textures, fluid, clay, wild herbs, etc. 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 experimental stop-motion.

 

Fourteen 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” (2012) became the first stop-motion I made and 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 stop-motion 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 virtual reality bodyscape. 

 

Currently, I am working on the latest mixed-media cutout stop-motion project "Herbal Rain" to explore topics about underlying therapeutic energy residing in nature and experiment with different forms, colors, textures of pressed plants and flowers for telling a visual story regarding the visceral spiritual journey of a traumatized space traveller which is a metaphorical reflection of my personal experience, mental status and awakening moments from my daily walks in transformative nature.

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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現成物、材質、有機液體、黏土、花草等，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實驗定格動畫。

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十四年前，我日復一日地觀察並拍攝牆上壁癌的生長，記錄著時間、環境和人為因素如何影響壁癌的生成。牆面黴菌的生長、分解和繁殖方式與更高等的生物相當相似。透過分析黴菌生長的環境和動態，並將其與生物進化進行比較，我創作了定格動畫短片《Step by Step》（2012），這也是我2013-2014年三部動畫裝置作品《Semi-liquid Space》、《Breeding Ground》和《Fish-Bird Community》的前導動畫。這三部作品以壁癌的生長做為主要視覺發想並延伸探討社會的議題。我感興趣的是表象與表象之下本質的二元性。

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我的創作理念源自於德勒茲與加塔利的「集合體」（Assemblage）概念，以及梅洛龐蒂的「世界肉身」（The Flesh of the World）概念。 「集合體」探討社會複雜性及其與流動性和可交換性的關係。 「世界肉身」則強調身體是理解世界的主要場所，身體與其感知的事物密不可分。這些哲學思想貫穿我的創作過程，從概念構思到最終的視覺呈現。

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定格動畫裝置作品《Mental Black Hole》（2016）探討了人們對憂鬱症的認知以及大腦中發生的隱密活動。這件多媒體裝置作品透過實體空間和三通道投影，創造性地詮釋了憂鬱症中杏仁核和海馬體的生理表現。在作品《Relation·Ship》（2018）中，觀眾首先會看到一段定格動畫，動畫中的主角「Fish Bone Queen」以不斷的給予他者來自於自身的珍貴「禮物」而建立某種聯繫。進入虛擬實境環境後，觀眾將沉浸於虛擬實境身體景觀之中感受因主角”過度給予” 而產生的波動。

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目前，我正在製作複合媒體媒材拼貼定格動畫《Herbal Rain》，旨在探索自然界中蘊藏的治癒能量，並嘗試運用不同壓花植物的形態、顏色和質地進行動畫視覺發想，作品講述一個受創太空旅人的內心精神之旅。這個故事也我個人的經驗、精神狀態的反射以及我在日常自然漫步中所獲得覺醒時刻的隱喻。