Art Development, Concept and Media of Pey-Chwen Lin’s 1990~2015 Series Artworks

Best Weapon Against Myth Is Perhaps To Mythify It In Its Turn

By Lin, Pey Chwen

Roland Barthes once said, “The best weapon against myth is perhaps to mythify it in its turn, and to produce an artificial myth.” My Back to Nature series will represent the production of human-technological civilization. For example, through the billboard light boxes and a digitally printed geometric sky, seascapes, flowers and grasses in the Artificial Nature series, I have placed them into nature or an indoor space in order to create an artificially-fictitious landscape. Furthermore, in the Artificial Life series, I have created non-existent butterflies, a human-butterfly hybrid, and a human-pupa or human-beast hybrid, Eve Clone, with 3D animation, Lenpicular Lens, LED, 3D Moving Hologram, Digital Image and Sound, Interactive Installation and media technology, criticizing man-made abnormality or mutation through a beautiful and artificial woman.

Showing high energy, virtually-real high technology which can closely interact with the audience, became the key media and language for my creations. In Specimen, with raster technique, I created moving butterflies, which will follow the audience’s eyes. The Portrait of Eve Clone was created and displayed following the dynamic effect of hologram technique. It is shown as a film being played, but it can also stop at the moment of the viewers’ gaze. In Virtual Creation, I invited viewers to draw pictures of butterflies with interactive programs and devices. By allowing the viewers to see the butterflies they have created fly into a seascape image, I have mimicked the human desire to create. In Eve Clone No.2, Eve Clone No.3 and Eve Clone No.4, I used a webcam and an interactive computer system to create the fake life of Eve Clone, which could not be independent but which could seduce the audience. Thus, the fact that media could represent technology was my original intention of criticizing modern technology.

With the use of ready-made objects, there is an important symbolical meaning in the style of my works, including the squares like geometric figures, cylinders, cones, and shell and pupa shaped light boxes for advertisements. I have attempted to represent the luxury and urbanization of artificial landscapes. The frames, glass medical tubes and medical jars show the process of the birth of artificial life, and how it is preserved and experimented upon. The numbers, symbols, sounds and images in my works describe an important “appropriation” concept. The number shown on the stuffed insets, Eve Clone, 666 (the mark of the beast), computer timecodes, tattoos, scriptures from Revelation in the Bible and holy songs define the artificial life’s character and status. They can be randomly numbered, controlled, cancelled or changed, and they can even be incarnated with tattoos or the mark of the beast. This is my work’s warning of the end of the world: humans are arrogantly changing God’s original creation and this will become an inescapable nightmare for mankind.
My earlier works (Interpretation of Woman and Chrysalis Series) explore life, and I then create my art to deconstruct patriarchy (Antithesis and Intertext, 228 Series, Classic Works Series and Beautiful Life), Followed by the Back to Nature series (Virtual Creation, Catching, Specimens, City Matrix, Cultivation, and Eve Clone Series. ) which were made after I was inspired by God. During the process, I have had the help of my family, friends, mentors, colleagues and students, in addition to the support of the prophets, co-workers, sisters and brothers. Thank you to all of the art gallery and museum staffs, artists, critics, reporters, audiences, collectors and scholars who have supported me. They have all allowed me to use art to express care in my explorations of life, society, and universal truth.

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