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.

Z E Y L I N

Breeding Ground

Site-specific projection mapping

2013

The space where placed this installation is the basement of National Taiwan Normal University’s Fine Arts Department. The root reason why I choose this site is that the ignored corner connects the Teh-chun gallery (external) and underground classroom (internal). Apart from the meaning of architecture itself, the border represents the gap between internal and external. I wonder if such an irreconcilable conflict with the negative feedback is responsible for the breakdown of the building.