Art Statement of “Eve Clone” Series

Pey-Chwen Lin’s Description of Eve Clone Series

Text written by Pey-Chwen Lin, translated by Gwen K. Kuo

The concept of Eve Clone series could be traced back to the Women’s Interpretation series and the Pupa series which I created in 1993. I intended to express the oppression of the social expectation on a woman’s multiple roles, which conjured up the pupa imagery. Not until 1995 when I pursued the doctoral study in Australia did I begin bringing myself into contacting with feminist aesthetics, I jumped out of the oppression and further tried to express in concrete imagery, such as traditional foot binding and modern cosmetic surgery. I reexamined these patriarchal cultural products from female perspective, and further led myself to create the Antithesis and Intertext series to question about the concept of plastic surgery and foot binding, both for women to suffer the unnatural process in order to satisfy the standard of the ideal beauty under patriarchal society. These body re-shaping by technology violates our original figures created by God, yet today’s patriarchal technology manages to against the nature. Alerted by the natural disaster, the 921 Earthquake in Taiwan, I witnessed how technology abusing the nature and as a result, the revenge of the nature. The 921 Earthquake awakened my consciousness about revering the nature and returning to the love of universe. In Back to the Nature series , I made the dazzling sceneries of artificial nature, the lifeless butterflies among fake flowers in the man-made garden. In Cultivation, I started to use the 3D animation to represent the artificially cultivating process to create the female body, from the grid formation to a body with flesh. Thereafter I continually use the 3D animation for the following works: the Even Clone I and the Eve Clone II. I also set up the interactive installation in the artwork to allow the audiences’ motion affect the work. For example, audiences’ movement can transform the pupa into the beauty of butterfly, and further transfigure to a beauty of human. The Eve Clone series stimulated a discussion on the coexisted connection between the viewer and the Eve Clone during its metamorphosis of process, as if the viewers give the birth of Eve Clone – The more viewers presenting in the space will generate the greater metamorphosis of Eve; no presence of viewer will result to the Eve returning to the pupa form.

In 2011, I became more aware of the issues of the abuse of biotech, gene duplication and human cloning. I hence used the “Eve Clone” to symbolize the ideal female figure cloned by advanced technology. The cloning an idealistic beautiful body is the extended concept connected to my earlier work, the Antithesis and Intertext series, just now I try to highlight the abuse of technology. The cloning phenomenon shocked me that, not only do we want to transform our appearances or body shape, but we desire to eliminate the imperfect genes from our DNA. We greedily conduct the experiments of eugenic genes and give life of an ideal beauty under the patriarchal technology. Hence, the naming of Eve Clone directly denotes the human’s intention of playing the role of God. I made the portrait of Eve Clone and added 666, Satan’s mark of the beast, on its forehead to hint the hidden danger of technology. Purposely, I have the Eve Clone image to contrast with the Eve created by the God. This artificial Eve Clone has become a female Frankenstein, with holographic eerie colors and wriggling movements. This hybrid, mutative object created by humans has become the incarnation of evil that rebels against human nature. Eve Clone is a metaphor of human inventions: the computer, the high-tech, the chemical engineering or the nuclear energy. These advanced technology are, misfortunately, springing back to our daily life unbearably. The vicious Eve Clone with the evil symbol 666 has turned into human’s greed, the Whore of Babylon, control over humans’ mind.

Both of the portraits of Eve Clone, Eve Clone III, Eve Clone VI represent the coexistence relationship of human’s eyes with human’s desire. The artificial technology seduces human-beings, and the technology further control over the humans.

From the Revelation of Eve Clone I series extended to the Eve Clone III and VI, these works are made to investigate the artificial life. The time code and colors embedded in Eve could be interactive with the viewers, their movements can generate Eve Clone’s life while they entering the exhibit venue (Eve Clone Revelation I). Meanwhile its cloned life could be self-reproduced and co-existed with humans in time, as the time code hinted. In this series I not only added the evil number 666, but also added six dominant languages (ancient Latin, Greek and Hebrew, and modern Chinese, English, and Arabic language) to reinforce Eve Clone’s evil yet powerful identity.

In the Revelation of Eve Clone III, Eve Clone has gradually become the Great Image worshipped by humans. Additionally, Eve’s body has become a large idol of gold, silver, bronze, iron, and clay which are described in the Bible (Daniel). Eve Clone lifts up its head and moves its body while the 3D device embedded in the head inviting the audiences’ movements (by raising their hands or touching Eve’s head – the act of worshipping). The viewers’ movements generate Eve’s motion and posture actively.

Each reproductive generation of Eve Clone symbolizes its evolution: Eve Clone I is a human-pupa beauty; the Portrait of Eve Clone has the imprinted 666; the Revelation of Eve Clone turns into the great image featuring its golden head. Through this evolution process of Eve Clone, I am devoted to examine about its controversial, controlling and being controlled relationship with human-beings; I want to explore the destiny of human’s unlimited desire. The entire Eve Clone series focus on the discourse of the human-technology relationship, the coexisted and copulation connection, and the tech-worshipping but eventually tech-control-human condition.

Finally, the Revelation of Eve Clone VI signifies an ending of the human pride; as the patriarchal technology challenges against the nature, eventually the greed will bite back and lead to its end – smashing into pieces by God.
In the film, Eve Clone was inundated by the rising of sea level above the relics. The sea turned into blood like that of a dead man. (Revelation 16:2-4) Eve Clone finally has managed to escape from the sea, but it was smashed by a stone. Then the iron, the clay, the bronze, the silver and the gold were all broken into pieces and became like chaff on a threshing floor in the summer. The wind swept them away without leaving a trace. But the rock that struck the statue became a huge mountain and filled the whole earth. (Daniel 2:34-35)

At the end of the film, the stone struck the statue gradually turned in to a huge mountain and occupied the land. The hymn as the background music sounds: “The kingdom of the world has become the kingdom of our Lord and of his Messiah, and he will reign for ever and ever.” (Revelation 11:15)Through the making of Eve Clone, I want to describe the fate of technological civilization, to shed the light on the result of abuse of power, technology and human pride: God will eventually smash the virtual power and take over the kingdom of the world.

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Goddess of Eve Clone(2017)
<i>Goddess of Eve Clone(2017)</i>

3D Animation、Digital Sound

10 mins

2017

Exhibition

2017 “Dramaturgy·Body Rewritten Contemporary Art”, Lee Gallery, Taipei

Goddess of Eve Clone uses 3D animation to represent the large statue in The Book of Daniel, a biblical apocalypse: its head was made of gold, its chest and arms of silver, its belly and thighs of bronze, its legs of partly iron and partly baked clay, which symbolizes the glorious and dominant country. Moreover, for exhibiting the evolution and generative process of its artificial life, the artist puts a constantly changing time code on the statue’s head, as well as displays the manuscripts and 3D rendering processes to represent the Goddess of Eve Clone is enlivening and living in real time. The background music employ poems to satirize its sacredness, which refers that the technological dominant countries created by human have already become the proud Goddess who was worshiped by humans.

Making of Eve Clone Documentation II (2017)
<i>Making of Eve Clone Documentation II (2017)</i>

Digital Printing

74.7X105cm

2017

Exhibition

2017 “Making of Eve Clone — Solo Exhibition by LIN Pey-Chwen”, Galerie Grand Siècle

The origin of Making of Eve Clone Documentation II is from the animation Making of Eve Clone I. I select three parts of Eve Clone’s grid body and of Leonardo Da Vinci’s manuscript, such as gold head with silver breast, silver breast with coppery belly, iron leg with half-iron half-clay feet; in order to emphasizing the features of “Great Image”. Then I add computing line sketch, grid, icon, camera, controller, and create six digital printings with original sketch color and the opposite color (white line on black base). Last, I add my hand-writing annotation to portrait the essence of “Great Image.”

Making of Eve Clone Documentation I (2017)
<i>Making of Eve Clone Documentation I (2017)</i>

Digital Printing

54x72x3cm

79X93X3cm

2017

Exhibition

2017 “Making of Eve Clone — Solo Exhibition by LIN Pey-Chwen”, Galerie Grand Siècle

For Making of Eve Clone Documentation I series, I overlap both head and hand part of Leonardo Da Vinci’s manuscript with the line sketch and grid of Eve Clone’s head and hand part in order to accentuating the golden ratio of Eve Clone. Although Leonardo Da Vinci’s manuscript use male as model, the face ratio of Eve Clone is still highly similar with his manuscript keeping signs of computer software which I design that in purpose as contrast of digital file and manuscript document. In the last print of both head and hand, the upper document shows the metallic-colored forming head and right hand with “666 Mark of the Beast” of Eve Clone, and the lower part shows the chapter Daniel and Revelations of Bible in the mirror writing from Leonardo da Vinci. The final touch is AR techniques that transform Eve Clone from a static print into dynamic video to simulate a vivid Eve Clone interacting with audiences in real world.

Great Image of Eve Clone(2017)
<i>Great Image of Eve Clone(2017)</i>

Moving image 3D Animation, Interactive Systems, Computers, Projectors, Stereo System

Dimensions Variable

2017

Exhibition

This interactive video installation is a continuation of the advanced version of Pey-Chwen Lin’s ‘Revelation of Eve Clone’ series of works. The title, ‘Great Image of Eve Clone’ satirizes the desire of human beings to play the role of God by developing and utilizing cloning technology to create an ideal Eve. To illustrate this particular human ambition in the work, Lin quotes ‘Great Image’ from the ‘Book of Daniel’ as well as the ‘666 Mark of the Beast’ from the ‘Book of Revelation’. (In the ‘Book of Daniel’ 2:28-33, it is written that this big image is actually the symbol of the human kingdom challenging God, while in the ‘Book of Revelation’ 13:15-18, it is written that the beast refers to Satan, and its mark is 666.) Lin uses both to criticize the technology created by humans, who are now largely controlled by technology, and are becoming slaves of technology by worshipping the same. This work is intended to reflect on the relationship between humans and technological civilization.

Lin created this big image of a woman with 3D animation, and made a three-dimensional golden head by 3D printing. The form of this big image was inspired by the large statue seen by King Nebuchadnezzar in the Bible. The head of the statue was made of pure gold, its chest and arms of silver, its belly and thighs of bronze, its legs of iron, its feet partly of iron and partly of baked clay. (Daniel 2:31-33) Furthermore, both the head and right hand of this large image display the “666 Mark of the Beast”. (Revelation13:15-18)

The process of cloning this big image was from its 360 degrees rotation inside the water of the test tube to the cloning of another exact copy of this big image in the projection installation. To illustrate the artificial life properties of this big image, one by one its color will turn from black and white to color while viewers stand in the front of the installation, while the timing in the positioning of its head will be synchronized to increase. This symbolizes how the fake life form of ‘Eve Clone’ exists and lives simultaneously alongside humans.

In addition, when viewers touch the ‘666 Mark of Beast’ of the golden head, the image will raise its head proudly and start to dance. Selected scriptures in six dominant languages from the ‘Book of Daniel’ and the ‘Book of Revelation’ appear randomly on the bottom of its feet, to reinforce Eve Clone’s evil yet powerful identity. Background music, like a Hymn, signifies that this beautiful image is actually a false form of life and a fake sacred idol.

Happening Rehearsal Interactive Performance(2016)
<i>Happening Rehearsal Interactive Performance(2016)</i>

影音、互動聲音設計、互動程式、MYO 手勢感測器、腦波儀裝置、互動 音樂台裝置、3D 列印、人臉辨識技術、現場樂器演奏、投影機、音響、布幕、 電腦燈、Kinect紅外線感應器。

18:00

2016

演出資訊

主辦單位:臺北市政府文化局、財團法人數位藝術基金會 共同主辦-廣藝基金會

承辦單位: 台北數位藝術中心

節目名稱:2016第七屆數位藝術表演獎 決選實地演出

演出時間:2016年6月26日(日)

演出地點:水源劇場 (台北市羅斯福路四段92號10樓)

The use of the word ‘Ou (a homonym which can mean both puppet or happening)’ in the title gives it a double meaning, and indicates a bold experimentation which weaves together the ‘form’ of performance with the ‘concept’ of artwork. In regards to form, a ‘happening’ narrative mode is presented. An ‘interactive digital interface’ is used to attempt to create an open experimental playscript where a different improv performance is given for each audience that participates. In addition, an imitation of the ‘rehearsal’ process composed of actors on the stage playing the parts of ‘street performers’ along with members of the production crew deliberately shown on stage while in the midst of operating computers, cameras, projectors, sensors, machinery, and ladders can be seen played out on stage. The saxophone music which plays at both the start and the end of the performance serves as an allegory of an endless street performance. Conceptually serving to present the likening of ‘street performers’ to ‘puppets’, controlled and entrapped within a virtual reality. The use of the Internet and technology such as MYO muscle sensors, brain wave transmitters, and mobile phones allows for the long-distance communication of information and emotion, provides a space without the constraints of time and distance. Yet, the ‘puppet-like’ body controlled by technology remains unable to leave the confines of its cage (the area on top of the white box). The daily act of putting on and wearing a mask with ‘666 (the mark of the beast)’ printed on it while wearing alluring high-tech equipment serves to reflect the conflicting process described in Genesis where Satan tempts Eve into eating fruit from ‘the tree of knowledge of good and evil’. This work reflects on the idea of whether the arrival of humans at the pinnacle of technology will also result in their entrapment within an inescapable nightmare controlled by Satan.

This performance places a special emphasis on the concept of ‘happening’ and ‘rehearsal’ as forms of narration, and is presented in three parts: (1) 15 minutes before the performance begins, as the audience is entering, they see a saxophone being played along with three statue-like ‘street performers’ standing on white boxes wearing silver masks with 666 printed on them. The saxophone player will engage in impromptu interactions with the audience, piquing their curiosity and leading them to interact with the sound interface on the stage (much like the act of placing coins into traditional coin operated machines), causing the three street performers to interact with the resulting sounds using improvised body movements. (2) A man in a black mask walks in front of the audience to film them, while the video plays on a screen above the stage in real-time. The audience will be surprised to find images of themselves appear on the screen wearing the same ‘masks ’ image as the three street performers on the stage, thus by chance, themselves becoming one of the actors of the ‘puppets’. This is achieved using ‘real time face detection and recognition’ computer software that can immediately overlay the image of a ‘mask’ onto the faces of the audience. (3) As the performance draws to a close and the music (sung by an enticing demonic sounding female soprano voice) approaches its climax, three ‘pre-arranged audience members’ are drawn towards the stage by the seductive movements of the three performers. The lighting above the audience glows slightly, and an image of a ‘demonic hand’ and the three audience members now wearing ‘masks’ is played on the screen, indicating that these three audience members have been chosen and are powerless to resist walking toward the stage. (4) After an intense exchange of interactive movements, the three audience members walk onto the stage and replace the three street performers standing on white boxes. The lights dim momentarily and then brighten again, and the blaring of music being played on the saxophone returns along with it, as if announcing the beginning of yet another rehearsal. This endless cycle reflects the irony and futility of our day after day existences, forever unable to escape from the control of the same technology we once sought to harness.

Portfolio of Eve Clone Series
<i>Portfolio of Eve Clone Series</i>

Portfolio of Eve Clone Series Download

Making of Eve Clone I (2016)
<i>Making of Eve Clone I  (2016)</i>

Projector3D、Animation、Digital Sound

10:00

2016

Exhibition

“ Like To Loud a Solitude”, MoNTUE, Taipei, Taiwan, 2016

This series, “Eve Clone Creation Project I”, combines the drawings of Vitruvian Man by Leonardo Da Vinci with each stage of developmentof my Eve Clone.

This serves to recall and represent how I use computer 3D animation for the creative process of “Eve Clone” to unfold its appearance for each period of Eve Clone Series.

This includes the initial graphic draft to the computerized wire frame of Eve Clone, the step-by-step mapping, the imitation of human-like skin color, the reproduction of metal color as well as the green light color of the hologram image and the mimicry of the golden-head big image. In this series “Eve Clone Creation Project I”, with a 360-degree rotation of Eve Clone, it shows the construction of each stage of Eve Clone while revealing it in the computerized space. With the use of a computer virtual camera, the rotations of each angle of the body show how the “Eve Clone” has been shaped in the process.

From making the single-line composition, building the wire frameand the skeleton, mapping the VU texture, and engraving the pattern to build the progressions of its motions…, all of them can show how it has been gradually constructed as a digital product of technological soft- and hardware put forth by the creative desires of human beings. I think that this desire is very similar to that of scientists or those who attempt to transform, imitate, and challenge the original creation of God by technology civilization of human beings. From initial concept to the step-by-step experimentation (practice), the whole process is certainly very similar.

Afterwards, I appropriated research on the golden ratio from the drawing by Leonardo Da Vinci. In addition to pointing out the perfect proportions of “Eve Clone”, this helps convey the strong creative desires and the amazing attempt of Da Vinci to translate into the concept and the creative process of Eve Clone. It is all because Da Vinci boldly dissected and analyzed the proportions of the human body, muscles, blood, veins, and bones. (During his time, faithful disciples must have been taught that our bodies are divine bodies created by God.

Yet, Da Vinci apparently disagreed with this and he had dissected a large number of corpses. This rational analysis of the human body and spirit of scientific research showed that he was indeed an exceptionally artist.) In his sketch manuscript, aside from recording the proportions and shapes of the human body, he also implied the concept that human beings are the masters of the universe (humanism thinking). It is no wonder that many of his paintings possess hidden secrets that stood against the truth of the Bible. My work, “Eve Clone”, criticizes the self-centeredness of human beings, which challenges the nature of original creation by God. With this work, I want to discuss the relationship between art and technology – the associations, comparisons, and intertextuality. In the work, I cleverly place the textual content of Eve Clone and my signature below the drawings of Vitruvian Man in “Da Vinci Mirror Writing Font” as a kind of secret code.

Great Babylon (2015)
<i>Great Babylon (2015)</i>

3D Animation、Digital Sound、Monitor

04:07

2015

Exhibition

“Revelation‧ Notification – Lin, Pey-Chwen Solo Exhibition”, National Tsing Hua University Arts Center, Hsinchu, Taiwan, 2015

“Great Babylon” is the new series following the final edition of my “Eve Clone” series. In the “Eve Clone” series, the Biblical prophecy of the Mark of the Beast, 666, and the Whore of Babylon are created through virtual 3D images to serve as a metaphor for the worship of technology and civilization by humankind – challenging the original creation of God, transforming nature, and even cloning life. I now attempt to place “Eve Clone” into the real world to remind humankind that the phenomenon of “Eve Clone” has already existed in daily life. If humankind continues to oppose God’s will by placing itself higher than Him, there will be no way to avoid the great tribulation as written in the Revelation chapter of Bible.

In “Great Babylon”, the “Eve Clone” stands prominently on the top of the Empire State Building in New York City. A bird’s-eye view shows the high density of the buildings and streets, as well as emphasizes it is the center where humans busily pursue politics, economics, culture, technology, religion, education, art, and other activities. The “Eve Clone” also serves as a symbol for the desires of humankind and the idols that it has chosen to worship. As a result, the “Eve Clone” opens up both hands in a prideful stance as she governs this great city. The film camera revolves around the “Eve Clone”, switching from a parallel to a bird’s eye view of the whole city. However, God watches it and the city from above, and finally sets fire to this Great Whore of Babylon. The smoke surrounding it rises up until all physical form has been destroyed.

啟:17:18

你所看見的那女人就是管轄地上眾王的大城。

And the woman which thou sawest is that great city, which reigneth over the kings of the earth.

啟:18:1-2

此後,我看見另有一位有大權柄的天使從天降下,地就因他的榮耀發光。

And after these things I saw another angel come down from heaven, having great power; and the earth was lightened with his glory.

他大聲喊著說:巴比倫大城傾倒了!傾倒了!成了鬼魔的住處和各樣污穢之靈的巢穴(或作:牢獄;下同),並各樣污穢可憎之雀鳥的巢穴。

And he cried mightily with a strong voice, saying, Babylon the great is fallen, is fallen, and is become the habitation of devils, and the hold of every foul spirit, and a cage of every unclean and hateful bird.

此後,我聽見好像群眾在天上大聲說:哈利路亞(就是要讚美耶和華的意思)!救恩、榮耀、權能都屬乎我們的 神!

And after these things I heard a great voice of much people in heaven, saying, Alleluia; Salvation, and glory, and honour, and power, unto the Lord our God:

他的判斷是真實公義的;因他判斷了那用淫行敗壞世界的大淫婦,並且向淫婦討流僕人血的罪,給他們伸冤。

For true and righteous are his judgments: for he hath judged the great whore, which did corrupt the earth with her fornication, and hath avenged the blood of his servants at her hand.

又說:哈利路亞!燒淫婦的煙往上冒,直到永永遠遠。

And again they said, Alleluia. And her smoke rose up for ever and ever.

啟:11:15

第七位天使吹號,天上就有大聲音說:世上的國成了我主和主基督的國;他要作王,直到永永遠遠。

And the seventh angel sounded; and there were great voices in heaven, saying, The kingdoms of this world are become the kingdoms of our Lord, and of his Christ; and he shall reign for ever and ever.

Revelation of Eve Clone V (2014)
<i>Revelation of Eve Clone V (2014)</i>

Digital Print

2014

Exhibition

“Woman-Home:In the Name of Asian Female Artists” at Kaohsiung Museum of Fine Art, 2014

“Taiwan Women Art Exhibition”, Cultural Affairs Bureau,Chiayi City Government,Chiayi,Taiwan, 2016

Revelation of Eve Clone IV (2014)
<i>Revelation of Eve Clone  IV (2014)</i>

Moving image 3D Animation, Digital Sound

08:01

2014

Exhibition

“Raising the Temperature”, International Art Exhibition, Queens Museum of Art, New York, USA, 2014

“Woman-Home:In the Name of Asian Female Artists” at Kaohsiung Museum of Fine Art, 2014

“Revelation‧ Notification – Lin, Pey-Chwen Solo Exhibition”, National Tsing Hua University Arts Center, Hsinchu, Taiwan, 2015

“Taiwan Women Art Exhibition”, Cultural Affairs Bureau,Chiayi City Government,Chiayi,Taiwan, 2016

Humanity now opposes the laws of nature and tries to change God’s creation through the development of a technological civilization, including such actions as manipulating nature and employing cloning technology to create artificial life.

Although technology brings convenience and enjoyment it may tempt humanity to go down a road of no return. Nature has encountered unrestrained destruction and humanity is facing a series of irreversible disasters through climate change, use of nuclear technology, chemicals in the environment, GM foods, cloning, electromagnetic radiation and computer chips. In order to counter these phenomena, I have used 3D animation to create a hybrid female human, which represents the enticing yet deadly products of scientific experiments. I have named this creature “Eve Clone”: Because God created Eve, humans want to

clone Eve.

The “great image” in the Bible inspired me to create “Eve Clone”, which symbolizes the authority and glory of the technology that humans are worshipping.The image’s head was of fine gold, its chest and arms of silver, its belly and thighs of bronze, its legs of iron, its feet partly of iron and partly of clay. (Daniel 2:31-33). I have also marked “666” on Eve Clone’s forehead and right hand—the sign of the beast in the Bible’s Book of Revelations, which symbolizes her control of humanity. (Revelation 13:16-18)

In the video “Eve Clone” is submerged in the sea amidst ruins, the water is stained red as the blood of a corpse (Revelation 16:2-4). Although she escapes from the water, she is ultimately broken to pieces by a stone, becoming like the chaff of the summer threshing floors; and the wind carried them away, that no place was found for them. (Daniel 2:34-35)

In the end, the video will show the stone that destroys the image becomes a great mountain. The musical soundtrack is a hymn to represent that the kingdoms of this world become the kingdoms of our Lord, and of his Christ: and he shall reign forever and ever.( Revelation 11:15)The way that the “great image” symbolizes the authority and glory of technology, should remind people that the technological civilization they worship will ultimately be crushed by God.

啟:16:2-6

第一位天使便去,把碗倒在地上,就有惡而且毒的瘡生在那些有獸印記、拜獸像的人身上。

And the first went, and poured out his vial upon the earth; and there fell a noisome and grievous sore upon the men which had the mark of the beast, and upon them which worshipped his image.

第二位天使把碗倒在海裡,海就變成血,好像死人的血,海中的活物都死了。

And the second angel poured out his vial upon the sea; and it became as the blood of a dead man : and every living soul died in the sea.

第三位天使把碗倒在江河與眾水的泉源裡,水就變成血了。

And the third angel poured out his vial upon the rivers and fountains of waters; and they became blood.

我聽見掌管眾水的天使說:昔在、今在的聖者啊,你這樣判斷是公義的;

And I heard the angel of the waters say, Thou art righteous, O Lord, which art, and wast, and shalt be, because thou hast judged thus.

他們曾流聖徒與先知的血,現在你給他們血喝;這是他們所該受的。

For they have shed the blood of saints and prophets, and thou hast given them blood to drink; for they are worthy.

Revelation of Eve Clone III (2013)
<i>Revelation of Eve Clone III (2013)</i>

Interactive installation

Moving image 3D Animation, Interactive Systems, Computers, Projectors, Stereo System

Dimensions Variable

2013

Exhibition

“Eve Clone Series I- Lin, Pey-Chwen Solo Exhibition” MOCA, Taipei, 2011

“404 International Festival of Art and Technology”, Platforma, Moscow, Russia, 2014

“404, International Festival of Art and Technology”, Rosario, Argentina, 2015

“Revelation‧ Notification – Lin, Pey-Chwen Solo Exhibition”, National Tsing Hua University Arts Center, Hsinchu, Taiwan, 2015

The Eve Clone Series stands as a critique of mankind’s use of technology to challenge the original creations of the Creator. Can people really entrust their survival to an artificial nature and life? Though faced with the phenomena of El Nino, global warming, melting ice caps, chemical spills, earthquakes, landslides, volcano eruptions, nuclear disasters, overpopulation, rampant consumerism, mutations, and others, mankind continues to push t

Inspection of Eve Clone (2011)
<i>Inspection of Eve Clone (2011)</i>

Digital Image

76.5cm x 53.5cm x 2cm x 6 pieces

2011

Exhibition

“Eve Clone Series II – Lin, Pey-Chwen Solo Exhibition”, Galerie Grand Siecle, Taipei, Taiwan, 2011

Through infrared photography, the body of Eve Clone is presented, consisting of pupa textured skin, totem tattoos, and the imprinted Mark of the Beast, 666. The totem tattoos consist of images of roses, dragons, phoenixes, snakes, scorpions, and more, alluding to the intrinsic relationship amongst the tattoos, the body, and Eve Clone herself.

When seen through infrared lighting, the dangerous nature of the beautiful Eve Clone is revealed.

The captions to the infrared photography show the Eve Clone’s serial number and her diagnosis date, time, and inspector.

Documentation of Revelation of Eve Clone (2011)
<i>Documentation of Revelation of Eve Clone (2011)</i>

Digital Image Prints

21cm x 29.7cm x 40 pieces

2011

Galerie Grand Siecle, Taipei

ART STAGE SINGAPORE, Singapore

Exhibition

“Eve Clone Series II – Lin, Pey-Chwen Solo Exhibition”, Galerie Grand Siecle, Taipei, Taiwan,2011

“Eve Clone Series III – Lin, Pey-Chwen Solo Exhibition”, ART STAGE Singapore, 2012

After the revelation of Eve Clone the artist attempt to use the 2D prints to show images of eve clone, her vital value, and the script of different chapters of revelation in five different languages. The purpose is to record Eve Clone’s historical thought.

Revelation of Eve Clone I (2011)
<i>Revelation of Eve Clone I (2011)</i>

Interactive Installation (3D Animation, Computer, Interactive System, Web Cam, Projectors, Stereo)

Dimensions Variable

2011

Exhibition

“Eve Clone Series II – Lin, Pey-Chwen Solo Exhibition”, Galerie Grand Siecle, Taipei, Taiwan, 2011

“Next Body” Digital Art Exhibition, Huashan1914 Creative Park ,Taipei, Taiwan, 2011

“Eve Clone Series III – Lin, Pey-Chwen Solo Exhibition”, ART STAGE Singapore, 2012

“15th Media Art Biennale WRO Pioneering Values”, Wroclaw, Poland, 2013

“The Apocalyptic Sensibility: The New Media Art from Taiwan”, Taipei Fine Art Museum, Taipei, Taiwan, 2015

‘Eve Clone’ is the artificial life that Pey-Chwen Lin creates with the help of technology. Besides her mutated look of human-cocoon or human-beast, in the forehead and the right hand of Eve Clone are the beast imprints ‘666’, implying that products of technology will take revenge and manipulate human beings. (Revelation 13:16~18). By means of the large interactive installation"Revelation of Eve Clone I", Pey-Chwen Lin criticizes the clone of technology products with the powerful female image that the Book of Revelation depicts: He said to me, “The waters which you saw, where the prostitute sits, are peoples, multitudes, nations, and languages. (Revelation 17:15) The woman whom you saw is the great city, which reigns over the kings of the earth.” (Revelation 17:18)

In this installation, the image of ‘Eve Clone’ continues 360 degree rotations and repeats the playout delay, to represent its reproducibility. At the bottom of the image there are the quotations from the Book of Revelation in six languages, to narrate and define the role of ‘Eve Clone’ and her ultimate fate. Moreover, the numbers that the computer calculates automatically represent her life index, to emphasize the artificial life power of ‘Eve Clone’. When a viewer enters into the installation, he turns on her life index showing the Time Code, which is the millisecond that human beings and she live in. The hymn-like incidental music enhances the idol-like sublimity of ‘Eve Clone’. As the viewer walks away, the life index stops so that the color of ‘Even Clone’ turns into black-and-white. It implies artificial life is not able to be independent. The artist proclaims that human beings proudly challenge God’s originality with technology, which cannot replace real life. Although the technology human beings develop is extremely charming, it manipulates human destiny, leading to the Great Tribulation, as written in the Book of Revelation in the Bible.

Following are the texts of the Book of Revelation applied in the work:

He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16)

and that no one would be able to buy or to sell, unless he has that mark, the name of the beast or the number of his name. (Revelation 13:17)

Here is wisdom. He who has understanding, let him calculate the number of the beast, for it is the number of a man. His number is six hundred sixty-six. (Revelation 13: 18)

One of the seven angels who had the seven bowls came and spoke with me, saying, “Come here. I will show you the judgment of the great prostitute who sits on many waters, (Revelation 17:1)

with whom the kings of the earth committed sexual immorality, and those who dwell in the earth were made drunken with the wine of her sexual immorality.” (Revelation 17:2)

And on her forehead a name was written, “MYSTERY, BABYLON THE GREAT, THE MOTHER OF THE PROSTITUTES AND OF THE ABOMINATIONS OF THE EARTH.” (Revelation 17:5)

He said to me, “The waters which you saw, where the prostitute sits, are peoples, multitudes, nations, and languages. (Revelation 17:15)

The woman whom you saw is the great city, which reigns over the kings of the earth.” (Revelation 17:18)

Mass Production of Eve Clone (2011)
<i>Mass Production of Eve Clone (2011)</i>

3D Animation8″ x18 pieces Digital Photo Frame

2011

Exhibition

“Eve Clone Series II – Lin, Pey-Chwen Solo Exhibition”, Galerie Grand Siecle, Taipei, Taiwan,2011

Within each digital frame, an Eve Clone floats in a test tube, showing its current stage of development in theexperimental process. Each Eve Clone is a different color and has the Mark of the Beast, 666, branded on them in 18 various languages. By freezing the image to capture a 360 degree, self-rotating view of Eve Clone, two characteristics of clones are represented – mass production and standardization.

Eve Clone III / IV (2011)
<i>Eve Clone III / IV (2011)</i>

3D Animation, Computer, Interactive System, Kinect, Web Cam

According to the space

2011

Exhibition

“Eve Clone Series I- Lin, Pey-Chwen Solo Exhibition” MOCA, Taipei, 2011

“YES, Taiwan Biennial”, Taiwan Museum of Arts, Taichung, Taiwan, 2012

Created using 3D animation, interactive computer programs, infrared sensors, and webcams, Eve Clone No. 4 is an interactive audiovisual installation that features six large-scale “Eve Clones” projected across a three-dimensional, hexagonal arrangement.

Incubating in liquid, the Eve Clone is a large alien lifeform that remain motionless whenever viewers are not looking at them.

During this time, the only sounds that are present are those of the sounds of bubbles rising in the incubation liquid.

As viewers approach and their motion is detected in the vicinity, the Eve Clone vigilantly turns her head to gaze at them.

Simultaneously, the sound effects in the background change to create an eerie atmosphe

Revelation of Eve Clone II (2012)
<i>Revelation of Eve Clone II (2012)</i>

Hologram, Spotlight

67x53x4cm each, 6 Pieces

2012

Exhibition

“Eve Clone Series I- Lin, Pey-Chwen Solo Exhibition” MOCA, Taipei, 2011

” Body and Interface”, Taipei Digital Art Center, Taipei, Taiwan, 2012

“Revelation‧ Notification – Lin, Pey-Chwen Solo Exhibition”, National Tsing Hua University Arts Center, Hsinchu, Taiwan, 2015

The work in the hallway is Revelation of Eve Clone II, which is Lin’s new series of holograms which she has developed in recent years. As opposed to a theatrical setting with wide projection and motion graphics, this series creates a one-on-one, close-up way of looking, reading, understanding and interacting through a 2D medium. In this work, the image of Eve is frozen and fixed in the photographs, confined to a flat screen and limited space. Nonetheless, as viewers gaze at the images from different angles, they are again activated and brought back to life to reveal their inner desires.

Fingers of Eve Clone (2011)
<i>Fingers of Eve Clone (2011)</i>

Medical Glass Tube, Poly Sculpture, Acrylic Frame

Spotlight60cm x 30cm x 5cm x 6 pieces

2011

Exhibition

“Eve Clone Series I- Lin, Pey-Chwen Solo Exhibition” MOCA, Taipei, 2011

“YES, Taiwan Biennial”, Taiwan Museum of Arts, Taichung, Taiwan, 2012

Fingers placed into medical test tubes are used to symbolize organ cloning.

Each severed finger is bent and imprinted with the Mark of the Beast, 666.

The test tubes are neatly arranged like a specimen presentation.

Hands of Eve Clone (2011)
<i>Hands of Eve Clone (2011)</i>

Medical Glass Jar, Poly Sculpture

Laser25cm x 25cm x 43cm x 6 pieces

2011

MOCA, Taipei

Galerie Grand Siecle, Taipei

ART STAGE SINGAPORE, Singapore

National Taiwan Museum of Arts, Taichung

Aside from being imprinted on the forehead, the Mark of the Beast, 666, also appears on Eve Clone’s right hand.

Placed in six medical jars, hands made of resin are all branded with the Mark of the Beast, simulating organs that are stored in formalin for experimentation.

The skins of the right hands are composed of snake skin, tree bark, pupa skin, shell, metal, ore, and other materials, representing the genetic mutations of Eve Clone.

Albums

Portrait of Eve Clone (2010-2012)
<i>Portrait of Eve Clone (2010-2012)</i>

Moving Hologram, 3D Animation, Spotligh

46×57.5x4cm each piece

2010-2012

Exhibition

“0&1: Digital Space and Gender Myths” 501 Contemporary Art Center, Chungking, China, 2010

“Eve Clone Series I- Lin, Pey-Chwen Solo Exhibition” MOCA, Taipei, 2011

“Eve Clone Series II – Lin, Pey-Chwen Solo Exhibition”, Galerie Grand Siecle, Taipei, Taiwan, 2011

“Eve Clone Series III – Lin, Pey-Chwen Solo Exhibition”, ART STAGE Singapore, 2012

“YES, Taiwan Biennial”, Taiwan Museum of Arts, Taichung, Taiwan, 2012

“404, International Festival of Art and Technology”, Rosario, Argentina, 2012

“15th Media Art Biennale WRO Pioneering Values”, Wroclaw, Poland, 2013

“Tetramatyka” Audio Visual Art Festival, Lviv National Art Museum, Ukraine, 2013

“Revelation‧ Notification – Lin, Pey-Chwen Solo Exhibition”, National Tsing Hua University Arts Center, Hsinchu, Taiwan, 2015

“The Apocalyptic Sensibility: The New Media Art from Taiwan”, Taipei Fine Art Museum, Taipei, Taiwan, 2015

“Dancing with Era-40 Years of Taiwan Contemporary Art”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2015

“Digital Attraction International Contemporary Art Exhibition”, NewTaipei, Taiwan, 2015

“Dancing with Era-40 Years of Taiwan Contemporary Art”, Kaohsiung Museum of Fine Arts, Kaohsiung, 2015

“404 International Festival of Art and Technology”, C++ Gallery, Bogota, Colombia,2016

“Like To Loud a Solitude”, MoNTUE, Taipei, Taiwan, 2016

In the series of ‘Portrait of Eve Clone’, the facial images of human-cocoon and human-beast are created by 3D animation. In the forehead there are beast number ‘666’ in Chinese, English, Arabic, Egyptian, etc. As the Revelation depicts, He causes all, the small and the great, the rich and the poor, and the free and the slave, to be given marks on their right hands, or on their foreheads; (Revelation 13:16). Through the high-tech hologram and black acrylic frame, the gesture and the gaze of Eve Clone are shown at various angles. When a viewer looks at the portrait to his left or right, he will, surprisingly, find her gaze back at him. Behind the beautiful look lurks a crisis of temptation.

It is to symbolize that the attractive technology created by human beings turns out to be a counterattack on human beings themselves. This work gives us introspection, that human beings challenge God’s originality with technology, and will eventually face the fate of being manipulated by technology.