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.
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MULTIMEDIA ARTIST
BASED IN LOS ANGELES, U.S. O-1B VISA HOLDER
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 and fluid. 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.
多媒體藝術家林宛錚出生於台灣，目前旅居洛杉磯居工作與創作。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。她擅長運用拼貼技法結合可觸的日常物件、材質與有機液體等，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。
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