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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Stop-motion VR installation project
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2018
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Initially the audience witnesses evocative gestural performance animation of the main character, “Fish Bone Queen,” giving away precious gifts from her own body. Upon entering the virtual reality environment, the viewer is immersed in a living bodyscape. This idea mirrors the perceived natural world and fluctuations in human relationships. Ultimately the viewer will be left with a more intimate understanding of how worlds can be perceived differently depending on your vantage point. This project is originally designed to be displayed in an installation setting as a stop-motion film and 3 vr headsets which provide 3 different immersive experiences inside the main character.
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project creator and director ZOEY LIN
vr visual effect creative director KUN XIA
composer and sound designer PING SHENG WU
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“Relation • Ship” is a virtual reality experience first inspired by “Ghost Ship”, a chapter from Roland Barthes' “A lover's discourse: Fragments”:
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" Though each love is experienced as unique and though the subject rejects the notion of repeating it elsewhere later on, he sometimes discovers in himself a kind of diffusion of amorous desire; he then realises he is doomed to wander until he dies, from love to love. "
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Using stop motion organic characters and set design inspired by marine biology, the story consists of two separate philosophical ideas; the concept of “Assemblage” by Deleuze & Guattari, and the concept of “Plissement” by Merleau-Ponty.
Merleau-Ponty states in “The Visible and the Invisible”:
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" The world is like that band of foam on the ocean which appears immobile when seen from an airplane, but which suddenly, because it has extended itself by a line, is understood to be shimmering and living from close up. But one also understands that, seen from high enough, the amplitude of being will never exceed that of nothingness, nor the noise of the world its silence. " (p.64)
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These ideas inform “Relation • Ship” in terms of content and imagery. Set in an ocean-like environment, complex intricate details shift out of focus to form abstract shapes, similar to Merleau-Ponty’s ideas of shifting perspective in relationship to the distance of the object.
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