- 3D Animation, Computer, Interactive System, Kinect, Web Cam
- According to the space
- “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 atmosphere signifying the awakening of Eve Clone by those around her. To simulate the transparent effects of water, real-time recordings of viewers at each corner are used to cleverly merge the Eve Clone images into the exhibition space.
Presenting the charm of interactive new media art, this large-scale interactive audiovisual installation initiates an intimate dialogue between the artist and audience. The six projections are like aquariums that consist of Eve Clones featured in different textures (e.g. gold, silver, crystal, snake skin, etc.) and colors (blue, green, purple, etc). Imprinted on their foreheads is the number, 666, which is presented in many different languages (Chinese, Arabic, Japanese, English, etc). Indeed, this work manages to intrigue and captivate the audience with a sense of tension and unease as they face a giant alien life form before them. When looked at from afar, the Eve Clone is silent and still. Yet, when approached, she surprises the audience by suddenly moving, twisting and turning her body along with the motion of viewers. Her gaze follows those walking around her intently. This kind of bilateral intimacy makes it seem as if the audience is somehow controlling the Eve Clone even as they are helplessly enchanted by her gaze. Technology is pervasive throughout modern life – mobile phones, the Internet, computers, surveillance systems, identification codes, and all kinds of passwords, etc… The control, temptation, and surveillance imposed on humanity by the omnipresence of technology is similar to that by the Mark of the Beast, 666, which holds mankind captive as stated in the Book of Revelation: He also caused everyone (small and great, rich and poor, free and slave) to obtain a mark on their right hand or on their forehead. Thus no one was allowed to buy or sell things unless he bore the mark of the beast – that is, his name or his number. This calls for wisdom: Let the one who has insight calculate the beast’s number, for it is man’s number, and his number is 666. (16 – 18) This is precisely the relationship between mankind and technological civilization that the artist wants to reflect through this artwork. Similar to the Creator, mankind creates technology, which is hoisted as the pride of civilization. Yet, by doing so, mankind faces eternal temptation and enslavement.