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.
Breeding Ground
Site-specific projection mapping
限地投影
This site-specific installation takes place in the basement of National Taiwan Normal University’s Fine Arts Department, revealing the corner and borderline between newly renovated Teh-chun gallery for "showcase" and outdated underground classroom for "education".
這個特定場域的裝置藝術作品位於國立台灣師範大學藝術系的地下室，揭示了新近翻修的德群畫廊（用於“展示”）與過時的地下教室（用於“教育”）之間的角落和邊界。
