- Opening｜May 05,2017 (Fri) 6:00pm
- May 05,2017 to June 02, 2017
- Galerie Grand Siècle (No.17, Alley 51, Lane 12, Ba-de Road, Sec. 3, Taipei City, Taiwan)
- Curator｜Ming Turner
Making of Eve Clone — Solo Exhibition by LIN Pey-Chwen
About this Exhibition
International Curator: Ming Turner
In postmodern culture, the woman’s body is often utilized to present the collapse of the relationship between technology and humans. Professor Andreas Huyssen, from Columbia University in the US, considers that modern writing often links together machines and women, and the kind of ideology this represents is similar to a patriarchal fear of women. The Eve created in Lin Pey-Chwen’s Eve Clone series symbolizes Lin’s imagination and interpretation of the posthuman, specifically as a woman’s body. Eve Clone both embodies the characteristics of femininity, and a deep religious significance. Despite the fact that Lin’s work largely relies on modern technology and digital techniques, she is actually criticizing the negative impacts of technology on humankind. The cyborg body of Eve Clone also illustrates the way society succumbs to the blind worship of a beautiful body, perhaps responding to the disapproval of technology via a woman’s body in the German expressionist epic science-fiction film drama, Metropolis, created in 1926.
Lin’s new body of work, the Making of Eve Clone Series, parallels the image of Eve Clone with Leonardo da Vinci’s drawing, Vitruvian Man, in which a special texture combining both digital and manual drawing has been created. Through the constant changing and revolving images of Eve Clone and da Vinci’s drawing, this piece symbolizes the concepts of androgyny. In this exhibition, Lin also exhibits several images which juxtapose the bodies of Eve Clone and Vitruvian Man, including their heads, torsos, and hands. These images are presented vertically and in parallel, with da Vinci’s images forming the background at the top and Lin’s images in the background at the bottom. In this series, Lin presents the images of her imagined Eve Clone through manual drawings combined with the structures of a human body created via 3DMaya, and with different textures of metals, Eve Clone looks as if she is having an interdisciplinary dialogue across space and time with da Vinci’s drawing.
Starting from 2006, I develop “human-pupa” from my previous work─ the female figure of Cultivation and the butterfly image from interactive installation Virtual Creation, and gradually transform into “human-butterfly” form. Then the ultimate interactive installation Eve Clone II is close to the shape of “human female body”. Human intentionally duplicate an “ideal woman” in their conceit and challenge God’s original creation, if, by their advanced technology. So it is named Eve Clone.
In 2010, I mark “666” on Eve Clone’s forehead and right hand—the mark of beast in Bible Book of Revelations, which to emphasize the dangerous beastliness in it. Further, I create a series of Portrait of Eve Clone by moving hologram. When audiences watch the portrait, they will be amazed by its eyes and postures movement following themselves, and it stays still when audiences are motionless. It criticizes that human create beautiful and alluring technology creations. Otherwise, human could be allured and controlled by their creations.
To show humans’ worship to Eve Clone, I duplicate its head by 3D printing and employ interactive designs that allow rows of Eve Clone to raise its head and dance when the audiences touch the “666 Mark of the Beast” on its golden-head, a metaphorical movement of intercourse and branding. Also, when the audiences take their hands off it, Eve Clone would return to its original state, with its head hung low. These designs enable me to interpret the vitality of Eve Clone and Eve Clone’s intimate relationship with human beings in multiple ways.
In 2016, inspired by the ending of “Whore of Babylon” and “Great Image” from Bible, I create two works to forecast the ultimate destiny of Eve Clone. One is a 3D animation named Great Babylon, Eve Clone, who stood on the top of the Empire State Building in New York City and seemed to take control of the whole world, is eventually burn out by God’s fire; another one named Revelation of Eve Clone IV shows the ending of “Great Image”, which was shattered by God.
I start creating Making of Eve Clone since the end of 2016, and showcase my completed project in my solo exhibition at Galerie Grand Siècle during May 2017. It will be presenting by 3D animation and documentations include a video Making of Eve Clone I, six documents of Making of Eve Clone Documentation II, and sixteen documents of Making of Eve Clone Documentation I. These works, combined with Leonardo Da Vinci’s manuscript, serve the purpose to detail my creation process and represent the very essence of human desire.
The series Making of Eve Clone I has appropriated the script of Leonardo da Vinci’s Vitruvian Man for the formation process of Eve Clone’s physicality. To represent in retrospection the phases in 3D modeling of Eve Clone, that 3D Maya software turns the original line drafts into an entity of human grid with varied shading and mapping, simulated human skin color, metallic color, holographic green light, and gold-headed idol. Such steps in revolving are demonstrated in a chronological order to give prominence to the progressive changes. The body forming techniques are shown through a 360-degree rotation, from line sketch, grid computing, skeleton model-building, application of texture, pattern carving to posture adjustment……; indeed Eve Clone is a digital product cooperated by software, hardware and human desire. Such desire is also employed by scientist or the like-minded inclined to transform, imitate, and challenge the God rules by evolving the experimentation of technology.
I appropriated the golden ratio from Leonardo Da Vinci’s manuscript as the perfect ratio for Eve Clone while Leonardo Da Vinci’s intense desire of creating and prodigious ambition were transcribed on the generative progression of Eve Clone, in correspondence to Leonardo Da Vinci’s bold actions, dissecting human body to acquire the knowledge of human proportion, muscle, blood vessels, and bones (dissecting gory human body not only were proximately against the religious morality in human sacred body as God’s creation at that time but shed light on his characteristics not merely of a painter but of a gifted rational, scientific spirit.) Leonardo Da Vinci’s action of writing and sketching human body proportion and figure left clues of a humanistic value in humans as the ruler of the cosmos, such opposition to Bible could be told from many of his paintings. The very essence of Eve Clone is to criticize the self-centered confidence in challenging the God’s creation through the rendering of discussion of the association, contrast and the paired correlation between art and technology. In the video, I inserted the statement of Making of Eve Clone in the mirror writing from Leonardo da Vinci along with my signature below the body as a symbolic code.
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.”
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.
I aim at recreating my workshop in the exhibit space while I represent the evolution steps and documents of Eve Clone in order to making a review of the series works for audiences, for instance, my documentary films recording the generative narration and every series of works of Eve Clone, and the generative content shows the great effort of me and my lab members like sketch, digital print, chapter of Bible, the “666 Mark of the Beast”, and three-dimensional model. I wish audiences can largely understand my concept, medium, and skill of Eve Clone while they see my solo exhibition Making of Eve Clone. No matter by image, sculpture, films, Interactive Installations, every means I use is for completely forming the artificial life evolution of Eve Clone: the course from the dangerous bestial image to the worship of great image, which is reflection and hint for human being’s ending after reaching the extremely expanded scientific and technological civilization.