Portrait of Eve Clone (2010-2012)


  • Moving Hologram, 3D Animation, Spotligh
  • 46×57.5x4cm each piece
  • 2010-2012


  • “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.



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