走出文明、回歸伊甸「回歸大自然系列」創作論述

文/林珮淳

生命的體認

1999年當人類正以特殊的心境等待跨越新世紀之際，台灣的百姓經歷了前所未有的大災難—「921大地震」。這個發生在1999年9月21日凌晨1點47分，芮氏規模7.3級的強烈地震，雖只有二十幾秒的搖震，卻撼動了整個台灣島，也幾乎毀掉了大半的中台灣。災難現場到處是房屋倒塌、山崩地裂、走山變形，整個村落頓時消失，短短的幾十秒中死傷成千上萬人。台中文化局921重建基金會出版的《記憶921》紀實攝影集中，呈現了當時的現場的照片，也紀錄台灣人的惡夢與浩劫。書中幾段的文字表露了人的脆弱與無奈：

「如何能想見，昔日巍峨的大樓就在一瞬間攤倒在妳面前，昨日還笑聲滿堂的甜蜜家園，如今卻埋在萬丈深淵，一片寂寥，而愛了一輩子的人，今後只能在夢中相見…。回家的路，像一條成長的臍帶，鏈結著長大後的理想和小時的記憶；鏈結著遊子與家鄉的情感，鏈結著永遠也切不斷的鄉愁。大震來了，斷腸扭曲的路扭曲得令人不能置信，這是我熟悉的回家路嗎？順路而下，是否還有一雙迎接我的手？路的那頭，是否還有我的家？…釋放了極大的能量，我們看到了大自然的另類面貌，斷裂、扭曲、翻覆與摧殘。是一種對人類的反擊？還是自然對生命的制衡？……這一夜，多少人自驚恐中醒來，奪門而出？『山崩地裂』不再只是形容詞，而是一個觸手可及的事實；挺立在眼前的事實，多麼希望這只是一個長一點的惡夢，再睡一下，天光亮起一覺起來，一切如昨日。」

「921大地震」震醒了我的良知，若不是目睹這場大浩劫，我也無法體認「走出文明、回歸伊甸；回到起初，來到終點」的真諦（1997年神僕人洪以利亞弟兄就帶出「伊甸家園」2 劃時代的信息，要神兒女離開文明的挾制，回到神起初要與人同住的伊甸境界。）身為藝術工作者，在多年以「女性觀點」創作了解構性別的作品（《女性詮釋系列》與《相對說畫系列》），以及解構台灣歷史的228展作品（《黑牆、窗裡窗外》與《向造成228事件的當局者致意》），以及解構文化、社會等議題的作品（《真實與虛假》、《繁複與思源》），以及反諷讀書人追求功利的作品（《經典系列》）等…，在明白了人與大自然的關係後，我認識了人類所有的問題（如男女不平等、戰爭悲劇、社會亂象、天災人禍…）都是因著人性的自私、驕傲、自大、不敬畏神，甚至違反大自然定律，自以為「人定勝天」的心態所造成的。湯一介教授對「全球倫理」的構想就認為人類的自私造成人自身的身心的分裂，他說當我們回來看看二十世紀，可以說它是一個飛速發展的世紀，是一個對人類的財富有巨大積累的世紀，但是它同時又是一個使人類遭受到非常深重苦難的世紀。…科學技術的發展雖然造福了人類，但是同樣破壞了自然、破壞了人和自然的和諧。由於對利益和權利的爭奪，就造成了國家與國家、民族與民族之間的對抗、甚至於戰爭，而對金錢的追求，造成了人們物質欲望的不斷膨脹，這使得人與人之間的關係處於一種非常緊張的狀態，這樣就破壞了人與人之間的和諧。若人類能敬畏創造主，若能照著自然的定律過生活，就不會有紛爭、歧視、欺壓的問題，也能與大自然和諧相處以達到「天人合一」的伊甸境界。於是，在創作上我開始思考了人與創造主的關係，以及文明與大自然的關係，我明白了人與大自然本不該分割，我的創作議題更不可與大自然無關。

開啟與感動

神僕人洪以利亞的信息也啟發了我，他說：「人類以為開發了，其實那不是開發，那是破壞！人類開發到那裡，神的創造就被破壞到那裡，美麗的大自然就被破壞到那裡。文明人的足跡所到之處盡是帶來污穢，三十幾年前我們上錫安山的時候，楠梓仙溪中魚一大堆，因為沒甚麼污染，現在魚少得不見蹤跡，因為二十一號公路開通了，山地管制撤銷了，我們山腳十二號橋下簡直成了垃圾堆。文明人到那裡，就把垃圾帶到那裡，或說，文明的人類是垃圾的製造者，如今這個問題很難解決。今天神憐憫我們，讓我們看到祂的救恩，知道神對墮落人類的定旨是甚麼：祂要藉著我們所傳的福音拯救人類脫離文明的敗壞。」4 另外，教會許多的詩歌也給了我很多的靈感，如：「我們本是屬於伊甸，理當生活在伊甸，照神的定律來過神本的生活，做頂天立地的人。我們伊甸沒有人的文明建造，只有神的創造，我們在其中與大自然合為一。…投入大自然，在神的懷抱，歡歡喜喜，無憂無慮過生活，逍遙的伊甸人。天上飛鳥不種不收，無倉無庫，神養活牠，野地百合不防線，神給它妝飾。我們比飛鳥貴重的多，比百合更尊重。只要投身大自然中，就有一切，走出文明，遠離塵囂，走入自然，回歸原始，大自然真是神奇，有醫治大能，我們靈魂體興健壯，人格健全成熟，只要照神的定律生活，一切都好。天地都有神創造，神就在大自然中，在大自然中生活，就是在神的懷抱中，我們在海邊讚美，在高山上讚美神，時時刻刻讚美神，受造之物都讚美神。…小鳥在天空自由的飛翔，魚兒在海裡自由的徜徉，花在陽光下燦爛地開放，萬物都在向創造神歌唱…」。因著這些詩歌的感動，我將天空、花草、海洋做為我作品中象徵大自然的主要圖像，而與「大自然」對立的「文明」就成了我要批判、控訴的對象。

文明VS大自然

文明越發達，科技、商業活動越發達，人類就更遠離大自然。「城市」是社會進步和文明發展的象徵，它也是經濟、政治和科技文明的中心，給人們帶來種種利益、舒適和享受。人們喜歡沉浸在都會中，尤其在那五光十色的招牌燈箱下，匯集了大量娛樂、商業、消費甚至暴力與色情的交易。「招牌」成了都市繁華的象徵符號與指標，是都會文明的符號之一。於是我將那炫麗耀人的「壓克力招牌燈箱」做為我創作的媒材，藉以「再現」這種「都會文明」的產物，以反諷其文明的本質。我也藉用科技的符號、圖像與媒材（如IC板圖像、3D電腦動畫影像、LED燈、DVD放映機等…）建構「科技文明」的模式，而反諷科技可能帶給人類的虛空與危機。

回歸大自然系列創作

1999年底展於桃園文化中心的的作品《生生不息、源源不斷》是我利用公園的健康步道意象，來傳遞我對大自然的渴望與尊敬。大自然原是生生不息、源源不斷供給人類生養，猶如母親般的乳育我們，當我看到彎曲如流水的步道，就很自然對它產生生命延續的聯想，於是我將人工的天空、花草、海洋的圖像搬進這公園，沿著步道放置一座座壓克力燈箱所做的三角錐，這兩者結合後的發光體竟創造出奇特的景象，觀眾可穿梭於作品間，也可從三個角度來欣賞一排整齊站立的天空、海景與花草圖像，尤其在夜間所產生的幻象更令人讚嘆燈箱的魅力。這件作品雖然是我「再現」都會人熱衷於人工美景所建構的文明產物，但真正也反諷了都市人毫無警覺去思考大自然所面臨的危機，因為外表、假象、人造光早已迷惑了人們的眼目。此作品之後也受邀於多處展出，如澎湖的馬公第一賓館公園以及高雄市立美術館等處。

在2000年「景觀、觀景」的個展中，我再建構了提供觀眾坐下欣賞的假天空、假花園與假海景。我先以正方立體的壓克力燈箱為規格，再利用此規格組合成三個景觀：如貼有花草圖像的兩座燈箱以喻表室內花園；貼有海底景觀的四座燈箱以喻表室內海洋；掛吊於牆上的三座貼有雲朵景色的燈箱則象徵室內的天空，這些格式化的人造景觀前面都放置有現成椅子做為作品的一部份，當觀眾坐在燈箱之前觀賞時，儼然構成一幅荒謬奇特的景象。原本美麗自然的景色卻被格式化、人造化後搬進室內暗房中，人們似乎也很習以為常的坐在椅子上欣賞，畢竟我們的生活週遭充斥著太多類似的人造景。

藝評學者陳香君對我的創作提出她的觀點：「孕育人類生命的自然難回。高度的科技化、商業傳播化，預示了自然的死亡，而義無反顧、擁抱科技進步成果的人類，卻對自我與自然間關係的沉倫一無所知。這便是現代資本主義社會中，某些人們基於商業利益，深陷濫用、誤用自然的惡性循環之中卻絲毫沒有一點自覺的寫照。這個道德預言，以最美麗的姿態，弔詭地透過電腦科技與商業傳媒，反覆地出現在本次展出的「景觀‧觀景」系列，以及桃園縣跨世紀全運藝術節裡的《生生不息、源源不斷》裝置系列，沉痛的控訴著資本主義剝削自然的邏輯，並諷刺的訴說著人性的無能與黑暗」。

2000年高雄燈會中有加入「藝術燈區」，由高雄市立美術館主辦邀請我在愛河旁創作。我再以同樣媒材圖像與理念出發，且從一個夜間發光的城市構想起而完成了《大地之光》，不但呼應了燈會的主題（燈會中到處充滿了人工燈、煙火、雷射燈以發揮現代科技的特色），也展現了我原先作品的魅力。其實「燈會」本身就是文明的化身，都會文化驅使人們竭盡所能的去製造大自然所沒有的東西，而消費者（觀眾）也趨之若鶩樂在這種氣氛中（由參觀燈會的人潮可以印證這都會文化的吸引力）。《大地之光》是由不同造型的幾何柱體所構成，當這些形體成為巨大尺寸且發出光亮時，就如同都會的建築物聳立在地面的耀眼，展出時眾多小孩穿梭、嬉戲於中，猶如一座「不夜之城」。

2001年我又受邀在清境農場創作另一件作品《寶貝》。我選擇種有高大樹木的場地，構想如何把作品融在這景象中。我想到「寶愛」大自然，也想到樹枝間的「鳥巢」，於是一粒粒如貝殼喻為寶貝的燈箱就成形了。燈箱上以絹印方式印有黃、紫色碎花，它如鳥巢般被崁在樹枝間，白天看這近二十顆的作品如鳥巢的掛在樹枝間，有種驚奇的唐突感，晚上看如鑽石在黑夜中閃閃奪人，又有如山中的精靈正睜大眼睛向人類示愛傳情。2002、2003年「寶貝」作品分別展於不同場地，如華山藝文中心的天花板鋼架上，以及在高雄糖廠廢墟裡，甚至也有在畫廊內的地板上（台中臻品藝術中心），因著場地的特性，「寶貝」呈現出各種不同的美感。

科技文明的省思

做完《寶貝》之後，我轉任執教於台灣藝術大學多媒體動畫藝術研究所，在「專題研究」及「數位藝術美學」的一些課程中，我與學生有深刻的互動，而令我更加認識電腦科技、網際網路對年輕人的影響。我驚訝發現新一代對都會文明的科技產物有龐大的依賴與追求，電腦工具猶如他們的雙手，網際網路是他們生活中的另一個活動空間，所有他們的研究（透過線上資料庫）、創作（圖片影音索取或參考作品）、學習（教學網站）、交友、娛樂、購物…，已大量依賴網路的功能，雖然有其快速、方便、效率的優勢（只要打入關鍵字電腦自動搜尋，交作業或尋找人事物已無需耗費大量功夫，得來相當容易方便，連我上課也是透過網際網路指出我講授的理論或作品，而學生們也藉由線上的資料做即時的發表…），但也形成與現實生活甚至與大自然更大的疏離。人與人、人與大自然的關係也逐漸被「虛擬的世界」所扭曲，網路色情、謠言、遊戲、賭博、犯罪、交易、交友…已嚴重的滲透至人們的思維與行為中，而導致道德、情感、禮儀、價值觀偏離，且逐漸成為文化與文明的一部份，這是遠超過我創作「回歸大自然系列」時所擔憂的。

人類靠著電腦科技的力量（power），大膽的發展所謂的「未來世界」或「網路科技世界」，認為電腦已可建造生命（人工生命），透過晶片、IC板、網際網路、電腦程式…做複製、虛擬、操控、監視、研發、培育…等工作。在〈當代科技發展前沿問題的哲學探討〉一文中就指出：「科學技術是人類認識世界和改造世界創新活動的結晶，是人類文明的基石。」6 足見科技與人類文明的密切關係。人類挑戰創造主的原創，違背大自然定律已肆無忌憚，不管後果如何，只要有利益（權利或金錢）就有價值，難怪基因改造工程、複製工程、核能武器、生化工程、電腦資訊工程等…，雖已威脅到人類與大自然的生存，但自私的人性只想無止境的追求功利以滿足慾望，然而慾望卻也是無止境而難以被填滿與控制的。

想到此，我很憂心但也很慶幸自己因認識創造主的偉大而能虛心思考自己的位置，而這種體認也促成我先實驗一部以3D動畫為媒材的作品（發表於CO2展，之後將之輸出為平面而展現於華山藝文中心及台中臻品藝術中心），這是我面對電腦科技的衝突所發展的第一件作品，是以一個電腦3D動畫的原型女體（現有的Poser 的軟體）做360度無止境的自轉，而女體的周圍也被「0與1」及「女書」的符號所圍繞，這是我更進一步的討論強權與弱勢的關係（如女人在父權文化壓制下所發展出的文字「女書」，其實就如一些不懂電腦科技的人受到電腦文化的影響般，似乎只有無奈與無助的被牽制而陷在無法遁逃的循環中。）這件作品後來引導我在台灣藝術大學的藝文中心舉辦的個展主題：「非自然」，因為科技正以強而有力的霸權侵略大自然生態，以強權VS弱勢的姿態建構科技文明，因此電腦科技、網際網路所形塑的「非自然」世界（科技文明世界）則成為我在此系列所要批判的。

「非自然」個展－《寶貝》、《花柱》、《溫室培育》

在2004年「非自然」個展中，我除了將《寶貝》以放在鏡面的方式裝置，以展現一種整齊劃一、規格化的「非自然」景象，也更加清楚的以科技符號與媒材來凸顯人類所發展的人工產物，如電腦、3D虛擬影像以及文明社會中暗藏的人類各種物質與現象（金錢、名牌、網路遊戲、複製或基因改造工程的科技等）。於是一些相關的圖像都被擷取而應用，並與「花卉」圖樣結合一起，以思考大自然與「科技文明」的相對關係。

《花柱》

《花柱》是由五件大型不同花朵圖像的作品構成。我以幾何柱體的壓克力燈箱（如工業化的機械或都會大樓的造型）貼上IC板與花卉圖像，以及3D蝴蝶影像來建構一人工「科技花園」。「花」與「蝶」從IC板上生長出，且以訊息（雷射燈）相互傳遞，而原本大自然中捻花惹草、花蝶相互吸引的景象，已被冰冷的柱體所取代，而這種冷漠電子感的花園不正也反映出數位時代人與人之間的關係嗎？

《溫室培育》

《溫室培育》系列則是四件的立體作品。我以「太空艙」、「無塵實驗室」、「無菌的溫室」、「科技空間」等為發想概念，建立以3D電腦動畫的擬真影像以及人工培育的意象，企圖把人類與花朵被培育、實驗、改造、複製的過程連結在一起，以反諷科技文明的無限發展，其實反而是將人類自身當成實驗品來改造。因此，花卉中有3D女體的動畫影像，影像乃呈現身體由線條構成而逐漸成形，並做無限的重複與循環的行為。另外，再以電動轉盤帶動花板做360度的環繞，與3D動畫女體的自轉相互呼應，以呈現一種如工廠自動化、機械化、循環化、電腦化的實驗過程，之後再以壓克力半球形的罩子來封蓋花與女體影像以表現無塵的溫室，又加上LED燈光的投射，而把整體作品照射的更加電子感。

「浮光掠影」個展－《捕捉》

2004年11月展於台北當代藝術館的「浮光掠影─《捕捉》」個展，是我延續「回歸大自然系列」而大膽以整間「暗室」做為裝置空間的創作。這作品乃由三個相關的創意所組成：1、以雙投影將成群的3D蝴蝶投影於入口的正視牆面上，當觀眾戴上立體偏光眼鏡時，一隻隻美麗栩栩如生的蝴蝶就立體的呈現在眼前。2、為了滿足人類想觸摸捕捉蝴蝶的心態，我建立了兩座假花圃，花圃的正上方（天花板）投影出蝴蝶的影像，當觀眾戴上白手套伸出手時，蝴蝶影像即呈現在手面上。這是可與觀眾互動的作品，而達到真實與幻象的趣味性，尤其在漆黑的暗室中，觀眾看到立體蝴蝶，又能試著去捕捉牠們，以滿足一種擁有的慾望。

我以數位投影的手法創造蝴蝶飛舞的景象，想藉著「蝴蝶」來討論：當人類遠離大自然，而把大自然影像放在隨手可得的空間時，以為就可以虛擬大自然而洋洋自得，觀眾雖可在暗房內體驗捕蝶的樂趣，但所看的與所觸摸到的卻是虛幻的影像，看似真實（可以戴3D眼鏡）卻是假象。另外，我思考到捕蝶後的人類行為，是將做蝴蝶做成標本，於是我也以光柵及透明壓克力的媒材，創造了15件「虛擬蝴蝶」的標本，藉以反思：有一天若「蝴蝶」與其「標本」都成為一種幻象時，那我們居住的大自然又將是如何？

《蛹之生》

2004年受邀第二屆台北公共藝術節而創作了《蛹之生》，主要是呼應當地文化特性，因哈密公園雖為老舊的社區，但透過更多的關注而期待能恢復其原有的活力。因此，我將約15顆白色的蛹造型，分別鑲坎於公園內的樹之間，白天只見一顆顆白色的蛹沉睡於陽光下，到了晚上化為一隻隻美麗的蝴蝶，在夜間一閃一爍的活現於樹林中。這是我將冷光片放置於蛹前端以突顯蝴蝶圖像的效果，以企圖詮釋白蛹到了夜間化為彩蝶的奇妙過程，而象徵此社區美麗的未來。

《城市母體》

《城市母體》乃藉由都會、科技的符號（如霓虹燈、LED燈、招牌影像）來反諷人類所淫浸的人造、數位世界，正不斷被數位科技所建構與粉飾，雖充滿了炫麗的光影與聲色，有如花蝴蝶般的吸引人，其實正引導人類遠離大自然，而進入一種被迷幻的假象中且不自覺。因此，我以如生物「異種」的造型，來隱喻人類所處的都會，有如一奇特的母體正複製更多的異種。觀眾可以透過凹凸鏡窺視母體內充滿炫麗的廣告招牌光影，光影中則呈現有群蝶飛舞的剪影，有如萬花筒的都會世界，且發出車水馬龍的噪音，而母體外則延伸了許多的觸角，觸角末端正是由母體所孕育的數位蝴蝶，加上LED燈的色光，產生人工生命的舞動與變幻，創造了一種複製體正以美麗的外表蓄勢待發的迷幻人類的眼目與情慾。另外，我也應用了互動系統與web-cam，來擷取現場正在觀看凹凸鏡中影像的觀眾剪影，且即時與凹凸鏡內的影像結合並投影而出，藉以反諷人類所創造的「城市母體」正是人類無法逃脫的場域，觀眾以為是以局外者窺視母體內的都會世界，卻不知自己也是母體的一部份。

憂心與提醒

我從作品中不斷的對這種人造、人工、複製、數位、虛擬等文明產物與現象做批判，企圖透過「不自然」的數位輸出圖像建構出各式各樣的人造美景，以模仿「都會文明」的那種艷麗與虛華，以及那種生硬、不自然的現況與事實。這種反思、反諷的創作理念與手法則成為我從1999年至今的作品主軸，而作品裝置的形式也隨著空間環境而有所變化（如融入大自然中或放在室內的暗房）。這種壓克力燈箱的發光體的確奪人目光，展出時受到許多觀眾喜愛，這正是我作品想要批判的意圖，因為它正「反射」出都會人的心態—習慣此人造景觀而不自覺它的荒謬，人類似乎早已習慣複製或模仿大自然，卻無法警覺到這種「人造物」已取代了真正的大自然。作品愈加吸引人就愈加印證人們對人工假象的親切，也就更凸顯我的創作理念：人類若不回歸大自然，走出文明的迷思，恐怕有朝一日，大自然只是一些數位的圖像、燈箱、虛擬影像、3D動畫、光柵、訊息…所虛構的假象，而真正人類賴以維生的大自然又將會如何呢？

陳香君對我的作品評論：「回歸大自然，這個工業革命之後的浪漫主義欲望，或說，中國文人政治失意時的文化通風港，在當前科技高度擴張的時代，似乎已成為一種無可救藥的鄉愁。林珮淳的回歸大自然系列，也引含了對於『自然』這個『純淨烏托邦』的無止盡憑弔及永恆盼望。於是，在藝術家追求『純淨自然』的歷程裡,有憤怒難耐的控訴，也有頑強實現欲求的希望。正如欣喜地看見以往藝術家在探訪『性/別桃花源』的旅途上，不斷剖析深層文化意識如何阻擾航程的嘗試和耕耘，相信藝術家對『自然烏托邦』的衷情渴望裡，也會有轉換鄉愁的深耕勇氣。」7人類為了經濟利益追求無止境的物質慾望，不停地大肆掠奪、變造、侵犯大自然，如工業排放的廢氣所產生的溫室效應已引起全球氣候反常；冰河溶解可能沖毀所有人類的建造；基因改造導致生物變種；人工化學毒素污染整個生態，電腦科技帶領人類反被電腦控制的地步…，這些已發生的現象以及可預知的災難正以倍數逼近，人們在享受五光十色的都會文明，浸泡在科技文明帶來的便利、速成、快感與虛擬幻象的同時，危機卻正在一處處引爆中，大自然也正無法避免的快速變色、反撲中…，身為藝術工作者及神女兒的我，除了多方傳揚「走出文明、回歸伊甸」的真理外，只能透過美麗的作品傳遞著我對文明有無限的擔憂與省思。若人類不反省「文明」發展的後果，大自然總有消逝的一日，就如發光體（壓克力燈箱）的亮麗隨時會因著電源的關閉而化為黯淡，人造的美景與虛擬的假象正是人類自我陶醉的浮光掠影，但隨之而來的將是人類所無法承擔的可怕後果。

Art Statement of "Back to Nature" Series

By Lin, Pey Chwen

While the world anxiously looked forward to the arrival of a new century, the people of Taiwan experienced the worst of all disasters—“921 Earthquake”. It was something that was the worst of its kind in Taiwan. September 21, 1999, an earthquake with a magnitude of 7.3 on the Richter Scale shook Taiwan at 1.47 a.m. In just 20 seconds or so, Taiwan was badly shaken, and in fact a large part of Central Taiwan was almost devastated. Buildings collapsed, mountains and highlands moved, the earth cracked and the landscape was changed. Even an entire village was removed from its original place. Fatalities and casualties reached more than ten thousand. The book “Memories of 921” has depicted the horror and ravages on the people in Taiwan. Some excerpts portrayed how helpless mankind is.

How we hope to see those tall majestic towers, but they have collapsed before your eyes. Those homes filled with laughter and joy yesterday had now been buried in the depth. It is loneliness now because those you loved all your lives can only be seen in your dreams ….. The homebound way is likened to an umbilical cord, linking the ideals of a grown-up to the memories of childhood; connecting the emotions of the wayfarer to his home; joining the eternal longing for home. But the quake broke the road and turned it into a crooked path. It is really hard to believe that this is the way that I once took to get home. Down the road, will I still see the pair of arms to welcome me home? …. Because of the great power emitted, we now see the alternative side of nature ~ cracks, distortions, collapse and ravages. Is this a kind of counter-attack on man? Or is it an equilibrium between nature and life? That night, many people were aroused from their sleep by shock and terror, and dashed straight out of the door.. How we hope the things that now stand before our eyes are just parts of an extended nightmare. Allow us to sleep for a while longer. Let everything be like the day before when we wake up at daybreak.

“921 Earthquake” shook me back to my senses. If I had not personally witnessed this ravaging, I would not be able to comprehend the truth of “coming out of the civilization and returning to Eden; back to the beginning to arrive and the destination.” In 1997, Brother Elijah Hong, the servant of God, brought out the contemporary message of “Eden Homestead”, calling on the children of God to depart from the oppression of civilization and to return to the realm of Eden that God wanted men to live in originally. As an artist, for years my works were based on the issue of feminism, culture, society. However, after understanding the relationship between man and nature, I become aware of all the problems of mankind such as the inequality between men and women, wars and miseries, social disorders, natural disasters and calamities …. These are all caused by man’s selfishness, pride, conceit, failing to revere God, to the extent of violating the law of nature, and thinking that man’s determination conquers heaven. If only human beings could revere the Lord Creator and live according to the law of nature, problems such as divisions and disputes, prejudice, and oppression would not arise. Man would then be able to live harmoniously with nature to attain to the realm of Eden in which man and heaven become “one”.

In Professor Tang’s preliminary proposal of “Global Ethics”, he feels that mankind’s selfishness is the cause of the breakdown of the mental and physical state of man. In his words, “Look back at the 20th century. It was said to be a time of speeding progress. It enabled man to amass wealth, and at the same time it caused man to suffer extreme distress and hardship. The improvement in science and technology was a great benefit to mankind, but it also ruined nature and the balance between man and nature. Due to the struggle for benefits and power, the conflicts among nations and people increased, resulting in warfare. The pursuit of money and wealth boosted materialism in man. The end result is that the relationship among people become tense, and so damaging the cordiality. Therefore, in my works of art, I begin to ponder over the relationship between man and the great Lord creator, as well as the link between civilization and nature. Now, I understand that man and nature are inseparable, and the theme of my works should not exclude my love for nature.

The messages of Prophet Elijah Hong, the servant of God, have inspired me. He said, “What mankind thought is development is not real development. It’s actually a kind of destruction! The extent of man’s development means the extent of the destruction on God’s creation. It implies the extent of the destruction on the beautiful nature. The footprints of the civilized man only bring filthiness. When we went up to Mt. Zion more than thirty years ago, there were lots of fish in the Nantze Stream due to little pollution of the river. Now we can scarcely see any fish. Due to the opening of the Highway 21 and the abolition of the post controlling the mountain areas, the Twelfth Bridge at the foot of Mt Zion is practically a dumpsite. The civilized people bring trash and dump them wherever they go. It goes to say that the civilized human race is also the producer of trash. This is now a serious problem which is too difficult to solve. Today, by the mercy of God, we have seen His salvation, and know the appointed will of God for the degenerated man. Through the gospel we are preaching, He’s going to deliver mankind from the corruption of degeneration.”

At the same, many of the Church hymnals inspired me greatly. One of them goes in this way “We belong to Eden. We should live in Eden according to God’s appointed will in order to become indomitable. In Eden, there is no construction of the civilized man, but only God’s creation. Here, we become united with nature. ….. We merge with nature. In the bosom of God, we are so joyful. There is nothing to worry about ~ a carefree Edenite. Look at the birds of the air: they neither sow, nor reap, nor gather into barns, and yet the heavenly Father feeds them. Consider the lilies of the field, how they grow. They neither toil nor spin, but God clothes them. We are more precious than the birds of the air, and the lilies. As long as we merge ourselves with nature, we will have all we need. Away from civilization, merge with nature and revert to the origin. Mother Nature is a wonder with its healing power. Our spirits souls and bodies become strong, personalities are healthy and matured. All things will be fine once we live according to God’s law. The heavens and earth were all created by God. God is in nature. To live in Mother Nature is living in God’s bosom. We praise God by the sea and on mountain tops. We praise Him all the time. All created beings praise God. ….. The birds fly freely in the air. The fish swim gaily in the seas. Flowers bloom beautifully under the sun. The whole creation is singing praises to our God….” In this connection, the skies, flowers and grass, seas and oceans are used in my pictures which symbolize nature. “Civilization” which is contrary to “nature” is what I purport to contend against.

With the advance in civilization, science and technology and business activities, mankind is taken further away from nature. “The city” is the sign of the improvement of the society and civilization. It is also the focal point of economy, politics, science and technology. There are so much benefits, comfort and enjoyment from them. People like to drown themselves in city life. In those cubicles decorated with neon lights on the outside are trading of sex and violence, the concentration of entertainment and business activities. The “sign” is a board equivalent to the busy city. It is a representation of the metropolis. In this context, I endeavored to use the colorful and attractive acrylic signs as a mean to replicate such a by-product of the city and civilization. This is ironical of the essence of civilization. The use of scientific symbols, pictures and materials (such IC chips, three-dimensional animation, LED lights, DVD players, etc…) through constructive models of science and civilization rebutted the vanity and crisis brought by science and technology to mankind. Following is the art statement for each of my art piece.

"Substantial Life"

The aim of "Substantial Life" artwork, exhibited at the Taoyuan Cultural Center at the end of 1999, was to send my longing and respect for Mother Nature. Since Mother Nature provides human beings with a never-ending supply of resources, I link the image with the concept of substantial life when I see a river-like winding footpath in the park of Taoyuan Cultural Center. In this installation work, I applied the printed-out images of the sky, flower, and ocean into 20 awl-shaped acrylic light boxes placing alongside the footpath. This combination created a unique effect, in that the audience was able to walk through the artworks while admiring from three different angles rows. People praised highly the mirage effect created by these light boxes at day and night. This piece was not only a "representation" on how much metropolitan environments place emphasis on artificial landscapes, it also mocked the lack of awareness about environmental crises because our naked eyes have been deceived by un-natural appearances, false landscapes, and artificial light.

Solo Exhibition of "Viewing Views"

In "Viewing Views" solo exhibition in 2000, I constructed, again, the sets of the artificial sky, garden, and ocean for the audience to sit on and enjoy the beauty of the landscape. I used a cubic acrylic light box as the basic units to make up three scenery sets an indoor garden represented by two cubic boxes with printed-out flower images, an indoor ocean by four cubic boxes with seascape images, and indoor sky by three boxes hung on the wall. Different chairs were placed in front of all three formatted artificial scenery sets as part of the artworks in order to create a peculiar and even absurd visionÐa very funny scene when you see audience seemed quite enjoy the artificial landscapes inside a darkroom without awareness because there is so much similar manmade scenery 'dumped' into our lives all the time.

"Light of Earth"

I was invited by the Kaohsiung Museum of Fine Arts to make a piece of work placed by the Love River for Kaohsiung Lantern Festival in 2001. Again, I used the same mediums, images, and concepts to present the idea of a city illuminated at night "Light of Earth" to echo the theme of the Lantern Festival. In fact, Lantern Festival represents civilization and metropolitan culture drives human beings to create what does not exist in Nature, and the audience also enjoy themselves in such an atmosphere full of manmade light, fireworks, and laser beams bring the distinguishing features of modern technology into full play. "Light of Earth" was constructed with huge and differently shaped geometric pillars, which became dazzling just like upright metropolitan buildings when lights shone out of them. As soon as the effects were activated, many children were playing within the piece making it look like another "City That Never Sleeps".

"Treasure"

In 2001, I was invited to make another installation for the Chin-Gin Ranch. I chose a site planted with tall trees and tried to blend the artwork with the site. The concept of Mother Nature, again, popped into of my head along with the image of a bird's nest this time. I named this piece "Treasure" to represent my idea of cherishing Mother Nature. I made about 20 shell-like light boxes with screen-printed flower patterns. These "Treasure" pieces were hung amongst the tree branches. Looking at these pieces in the daytime gave one a surprisingly inadequate feeling but at night they looked like glittering diamonds or like some mountain spirits with their eyes wide open sending their love to human beings. The "Treasure" was later exhibited in 2002 and 2003 at different places, such as amongst the rigid beams in the ceiling of the Hua-Shan Art District, inside the remains of the Taiwan Sugar Factory, and even on the floor of an art gallery (the Galerie Pierre), which gave the audience different aesthetic perceptions accordingly.

Solo Exhibition: "Artificial Nature"

In my 2004 solo exhibition "Artificial Nature" at the Art Center of National Taiwan University of Arts, in addition to re-arrange the piece "Treasure" on reflecting acrylic board to make an uniform and standardized installation, I strongly emphasized the technical symbols such as computer 3D animations, and social phenomena in digital era such as internet games and cloning technology. Those images were combined with printed-out flower patterns to make the contrast between Mother Nature and human beings' technical civilization.

"Flower Pillars"

This is a piece composed of 5 pillar-shaped acrylic light boxes. I applied the printed-out images of computer IC boards and flower patterns onto geometric and pillar-shaped acrylic light boxes to symbolize the shapes of industrial machinery or buildings. Also, I introduced one 3D image of butterfly in the middle piece to construct a manmade "Technical Garden", in which was the flower and butterfly "manufactured" by IC boards and communicating with each other via "messages" (laser beams). In fact, such coldly detached relationship states a reflection of our interpersonal relationships in this digital era.

"Cultivation"

This series consists of 4 pieces of artwork based on the themes of 'Space Capsule', 'Germfree Greenhouses', and 'Technical Space' respectively. By applying 3D animated virtual images and the implication of artificial incubation, I attempted to link human beings with the process of breeding, experimenting on, transforming, and cloning flowers. My point was to mock the infinite development of technical civilization which is in fact a process of transformation using human beings themselves as the guinea pigs. Therefore, there was an animation of a 3D female image inside each acrylic flower board; each animation showed the gradual forming of the body through lines, and the formation process was repeated endlessly. Also, each acrylic flower board was rotated 360 degrees by powered turntables to echo the rotation of the animated 3D female figure and to present a certain experimental process, a factory's automation, mechanization, circulation, or computerization. Finally I covered the entire set of flower board and female figures with an acrylic lid (half ball shaped) to symbolize a clean greenhouse with a touch of LED light to give the whole piece a more electronic sense.

Solo Exhibition of "Catching"

This exhibition is a continuation of my 'Back to Nature' Series with a rather bold attempt by using the entire darkroom to present a new concept in Museum of Contemporary Art in Taipei. Together, three related installations in the darkroom are: (1) On the wall opposite the entrance is shown the "Virtual Reality" image of a group of butterflies in 3D Polarized Projection System. By wearing 3D glasses the audience can experience the pleasure of catching butterflies. (2) One artificial garden with images of butterflies projected has been created to satisfy human beings' desire to touch and catch butterflies on hands with white gloves. It interacts with the audience to achieve a certain degree of interest, but what they can see and touch is in fact an illusion. (3) 15 specimens of "Virtual Butterflies" are hanged and displayed between other two installations. It was the common human behavior after one catches a butterfly will turn it into specimen. I therefore used Lenpicular Lens, Electroluminescent and acrylic boards to make 15 pieces of "Virtual Butterfly Specimens". It is to bring up the question of when "Butterflies" and "Specimens" become a sort of illusion one day, what happens to the environment we actually live in?

This series, again, emphasizes the previously existing "Reality" that eventually will only be able to be admired, captured, and mourned one day if human beings don't start to cherish Mother Nature. What will they have in the end? An illusion and virtual images I have created to make the point that those beautiful and lifelike butterflies are only the technological products after all. Although the 3D butterflies appear to be as real as life through a pair of glasses, they are nothing but a trick of the senses (Virtual Reality) produced by means of so-called 'Hi-Tech' including 3D animations, Polarized Projection System, Polarized glasses, etc. The entire process is quite alluring and leads the audience into some visionary wonderland but the audience will get hit by a situation of feeling lost as soon as walking out of the space because nothing they can catch.

“Chrysalis”

“Chrysalis”, highlighting the features of local culture, was created by the invitation from the 2nd Taipei Public Art Festival to recover the energy of the old community through more attention from the public. Therefore, I inlaid 15 white chrysalis-like objects made by acrylic, which symbolize chrysalises sleeping at daytime and undergoing metamorphosis into beautiful butterflies at night, shining in the bushes. This is the effect created by Electroluminescent which was placed in front of chrysalises to highlight the image of butterflies. The wonderful process from white chrysalises to colorful butterflies at night is a metaphor of the bright future of the community.

“City Matrix”

“City Matrix” exhibited in three art centers: Tainan University of the Arts, National Hsinchu University of Education, and Kao Yuan University. I uses symbols of technology (i.e. neon, LED and digital video of signage, etc) to represent the image of a city full of shiny lights, colors and noises to attract people to lost in its unconscious illusion. I create this piece as a metaphor for a city that breeds artificial and digital lives. The viewer can peep through the lens on the top of Matrix to see the moving image of LED signage and butterflies. The tentacles extend from the Matrix toward digital butterflies made of 3-D graphics and lenpicular lens. These tentacles and butterflies symbolize the lives "bred" by Matrix. Matrix is a clone of beauty, waiting to trick people’s eyes into believing it came from desire. Moreover, I use web-cam to catch the image of audience and combine it with the projected image from the lens on the top of Matrix to present the interactive effect. It is to criticize that human can never escape from the Matrix made by them because they are part of the Matrix when they are peeping the Matrix outside in the same time.

“Virtual Creation”

Large Projection Installation , Computer Touch Screen
2006

This work satirizes mankind’s constant desire, through all manner of scientific and technological means, such as computer software, biotechnology, virtual reality, genetic modification, cloning technology and man-made life, etc., to play the role of lord of creation, thinking that, once he has science and technology developed, he can use it to replace Mother Nature. This is why I created an installation work that would enable the audience to imitate a creator. Immediate and interactive images produced by means of computer applications, such as the computer touch screen and interactive systems, enable the audience to take part in the process of creating butterflies and convey man’s creative desires.

When visitors enter the exhibition space, they discover there are butterfly images on the screen on the platform, and by taking part in drawing these images with their own fingers and completing the whole creative process, especially seeing the butterflies that they have drawn fluttering onto the screen, they experience a virtual but sincere feeling of being a creator. This is a metaphor for me as an artist using the latest in technology (interactive systems, computer applications, animated imagery, and so on) to mock the virtual desires and sense of satisfaction that science and technology bring to mankind.

EVE clone#2

The artists create a genetic clone woman, which deforming frequently in the test tube, through the 3D Computer Animation. And this clone transforms gradually into a stunning naked woman with butterfly wings from chrysalis. She is named “Eve” because of absorbing the nutrients, she grows like a woman. There are many bubbles floating within the test tubes, it symbolizes the nutrients and computer driver which supply Eve, so the more they supply Eve, the more she evolves to be a real human (it means the computer drive becomes more powerful), but the less they supply Eve, she deteriorates to be a butterfly woman even turn back to chrysalis. Because of the large-scale 3D animation of an image, the entire work attracts the audience to watch. Hence this work will be installed in and out of the display window of the department store, using the large-scale LCD monitor to simulate the appearance of the aquarium, in order to build up an interactive model with the audience through the hidden webcam. When the audience enters the specific induction coil, the image will be captured and be distorted in the bubble real time. The audience will discover surprisingly that they themselves have become part of the bubble. The more the bubbles are captured the more evolutionally Eve will be. On the contrary, Eve degenerates if the bubbles are decreased. As a matter of fact, the clone that human created, though it appears vividly, however it is fragile and it finds hard to survive independently. They might appear in any space to multiply and evolve, however it might also degenerate and turn back into the most primitive artificial cell due to the deficiency of nutrients (the computer program). Is the mankind of the future world ready to face this virtual but ubiquitous creature?

Summary

It is those beautiful light boxes, digital pictures and virtual images I used to create the "Back to Nature" Series to alarm and criticize the development of civilization. By different means, advertising signs for criticizing metropolitan civilization, 3D animated images for warning against the crises caused by artificial lives, or VR darkrooms for self-examining the "Unrealistic" future world, and so on, I wanted to convey a single message: Do not destroy Mother Nature, whom we rely on for our daily lives, do not blindly develop diversified civilizations against the will of God, and do not cast yourself on the resource-consuming and benefit-driven journey with no return. Therefore, through my artworks, I state strongly: "walk out on civilization and return to Eden is the only way for human beings' existence to continue."

Human beings seem to feel that computer technology can help them realize their dreams (some dreams about conquering outer space, creating life, traveling through time and mastering one's own destiny, etc.), and such desire has driven them to blindly and proudly develop a technological civilization. They challenge God without knowing that human beings cannot exist without Mother Nature because no matter how many computers, machines, weapons, laboratories, VR facilities they have invented, the nutrition offered by Mother Nature can never be replaced. Can "Technological Civilizations" really benefit human beings or help them control their own destinies? From where I am standing, although technology has sated human beings' senses and desires, that very self-righteous and complacent sense of achievement might be followed by the biggest catastrophe ever if human beings keep challenging Mother Nature and her creations with arrogant and self-conceited attitudes. When Armageddon eventually falls upon the entire human race, we might not be able to keep even a tiny creature like a butterfly. Technology is indeed capable of creating vivid images inside a darkroom, and the images can even be saved in digital files; that achievement however just skims the surface because when we walk out of that darkroom or turn off our computers, what can we really "catch" for good? While we are enjoying those rather short-term delights and indulging ourselves in technological temptations, are we aware that catastrophic scenarios are highly likely to happen (some already have) in the near future in our everyday lives? Artificial Nature is a fictitious image, all the creatures come from laboratories and have been genetically modified, computer technology has controlled our lives.

「景觀、觀景」個展

數位圖像輸出，現成椅子，壓克力燈箱
90 x 90 x 30 cm (each) x 11
桃園文化中心
2000
贊助單位：桃園文化中心

「景觀、觀景」是2000年個展於桃園文化中心及中原大學圖書館的作品。為了建構另一人造景觀，我以正方形的壓克力燈箱來排列組合成三個室內景色，分別命名為《觀天》、《賞花》、《觀海》。以同樣的媒材與大自然的海景、天空與花草圖像，再加上了椅子的「現成物」成為作品的一部份，以邀請觀眾坐下來觀賞眼前的人造景。「景觀、觀景」是很荒謬的一幕：大自然景色怎麼成了一塊塊的正方體？且又被陳列在室內的暗房內？觀海不是要去海灘？賞花不是要在郊區的花園？看雲不是要走出戶外？觀眾在正方體前面欣賞甚麼呢？然而，隨著科技的進步，人造的、格式化的、量產的、塑膠的、壓克力的、無生命的景色愈加普及，宣稱科技可創造與大自然一樣逼真的美景，這其實是我刻意反諷的一種唐突景象，也更藉此反思這種現象豈不已充斥在我們生活當中？

Solo Exhibition of "Viewing Views"

Digital Prints on Acrylic Light Boxes
Ready-made Chair
90 x 90 x 30 cm (each) x 11
Taoyuan Cultural Center
2000
Sponsored by Taoyuan Cultural Center

In "Viewing Views" solo exhibition in 2000, I constructed, again, the sets of the artificial sky, garden, and ocean for the audience to sit on and enjoy the beauty of the landscape. I used a cubic acrylic light box as the basic units to make up three scenery sets an indoor garden represented by two cubic boxes with printed-out flower images, an indoor ocean by four cubic boxes with seascape images, and indoor sky by three boxes hung on the wall. Different chairs were placed in front of all three formatted artificial scenery sets as part of the artworks in order to create a peculiar and even absurd visionDa very funny scene when you see audience seemed quite enjoy the artificial landscapes inside a darkroom without awareness because there is so much similar manmade scenery 'dumped' into our lives all the time.

《大地之光》

數位圖像輸出，壓克力燈箱
360 x 360 x 250 cm (each)
高雄愛河燈會
高雄市立美術館主辦
2001
贊助單位：高雄市立美術館

2001年高雄燈會中加入藝術燈區，由高雄市立美術館主辦，邀請藝術家在愛河旁的公園創作。我再以同樣媒材、圖像與理念出發，且從一個夜間發光的城市構想起。《大地之光》是由不同造型的幾何柱體所構成，其實這些造型乃從鑽石型體所切割出的，當這些形體成為巨大尺寸且發出光亮時，就如同都會的建築物聳立在地面，的確有如一個發光城市的耀眼。展出時眾多小孩穿梭嬉戲於中，構成一幅生氣蓬勃的都會景象，但也反思到人們（尤其是下一代）已習慣於這種非自然的色光，而每年一度的「燈節」更是將此慾望表現的淋漓盡致，不管是傳統燈、現代燈等，皆竭盡所能的創造一種可以代表人類文明能量的聚集與釋放的力量。

"Light of Earth"

Digital Prints on Acrylic Light Boxes
360 x 360 x 250 cm (each)
Kaohsiung Museum of Fine Arts
2001
Sponsored by Kaohsiung Museum of Fine Arts

《寶貝》數位圖像絹印，壓克力燈箱

60 x 50 x 40 cm (each) x 20
清境農場
台灣藝術大學藝文中心
台中臻品藝術中心
國立新竹教育大學藝術空間
高苑科技大學藝術中心
2001, 2004, 2005

《寶貝》乃2001年展於清境農場，2002年展於華山藝文中心與高雄糖廠，2003年展於台中臻品藝術中心，2004年展於國立台灣藝術大學藝文中心，目前部份設置於清境農場與南海藝廊。一開始我在清境農場的高山美景中，尋找了一處通往香格里拉飯店前的走道，兩旁有大樹林立相當整齊優雅。當我在現場觀察許久後，決定將作品融於在樹枝間，於是如「鳥巢」或「貝殼」的燈箱造型出現了。燈箱上絹印有紫、黃交錯的碎花圖樣，依「貝殼」的形狀而命名為「寶貝」，主要是有期待人類要「寶貝」大自然的用意。《寶貝》現今仍被鑲在原處（由香格里拉飯店收藏），且受到渡假旅客許多的矚目，這又是一件文明與大自然交錯所產生的人工美與矛盾性的作品，誠如我一再強調的：人工的產物本不該出現在大自然中，但渡假的旅客大都是從都會抽閒上山的，對這種發光體混在樹枝中反而感到親切。其實，清境農場也逐漸文明化、商業化、人工化，多數的民宅都改建為飯店，過度的開發已破壞大自然的原貌，這也是文明入侵山區的普遍現象，也是山坡地發生嚴重土石流的原因之一。之後於2004年的「非自然」個展以及2005年的「情迷‧意亂」個展中，我更加強化了《寶貝》反光的人工美，在台灣藝術大學藝文中心的展場內，我建構了由12顆整齊排列組合成的「鏡面上的寶貝」，有如一座未來城市或宇宙中一群發光的外星物體。展出時倍受觀眾的圍觀與讚美，也有觀眾描繪這些「寶貝」如同「枕頭」般的輕盈漂在水面上，很令人憐惜。這又再次印證了我所訴求的議題：不自然的發光體卻創造了都會人所期待的驚艷或超現實的美感。

"Treasure"

Screen Prints on Acrylic Light Boxes
60 x 50 x 40 cm (each) x 20
Chin-Gin Ranch
Art Center of National Taiwan University of Arts
Gallerie Pierre Art, Taichung
National Hsinchu University of Education :HCTC Artist Space
Kao Yuan University Art Center
2001, 2004, 2005

In 2001, I was invited to make another installation for the Chin-Gin Ranch. I chose a site planted with tall trees and tried to blend the artwork with the site. The concept of Mother Nature, again, popped into of my head along with the image of a bird's nest this time. I named this piece "Treasure" to represent my idea of cherishing Mother Nature. I made about 20 shell-like light boxes with screen-printed flower patterns. These "Treasure" pieces were hung amongst the tree branches. Looking at these pieces in the daytime gave one a surprisingly inadequate feeling but at night they looked like glittering diamonds or like some mountain spirits with their eyes wide open sending their love to human beings. The "Treasure" was later exhibited in 2002 and 2003 at different places, such as amongst the rigid beams in the ceiling of the Wha-Shan Art District, inside the remains of the Taiwan Sugar Factory, and even on the floor of an art gallery (the Galerie Pierre), which gave the audience different aesthetic perceptions accordingly. In my 2004 solo exhibition "Artificial Nature" at the Art Center of National Taiwan University of Arts, in addition to re-arrange the piece "Treasure" on reflecting acrylic board to make an uniform and standardized installation.

「非自然」─《花柱》壓克力燈箱，數位圖像輸出，3D動畫，雷射

紫花柱、紅花柱、黃花柱、橘花柱、蝶柱
250 x 50 x 50 cm (each) x 4
80 x 80 x 85 cm x 1
台灣藝術大學藝文中心
2004

「花」原本是自由生長的，因著季節、陽光、水與泥土而隨意滋長，且散發花香以吸引蝴蝶採蜜以延續大自然的循環生命。在我2000年《賞花》的作品中，已諷刺了都會中人們在室內欣賞假花園的荒謬景象，而在2004年我更加強化電腦科技與花蝶的關係。我同樣以幾何造型的壓克力燈箱來建立一座花園，又加入電腦IC板圖像及飛舞的蝴蝶影像，以批判科技文明的的現況。我模仿都會建築的形體，又結合IC板的放大圖像與一朵朵的花朵圖像來建築一個「科技花園」，這也喻表IC板是花的生產基地，花已是科技花（沒有草），雖然可以永久保持美色但卻是沒有生命的跡象。
四個花柱中間有一個較低的蝶柱，柱中間則崁有一個小螢幕，仔細看下竟是一個飛在IC板圖像卻無法飛出螢幕框架的蝴蝶影像。蝴蝶雖被螢幕框架住，但蝶柱與花柱之間閃現有變幻的雷射紅燈，喻表原本花與蝶相互依賴的親密夥伴已被這種雷射傳遞的方式所取代，我藉以反諷未來的生物可能只會冷漠的藉由「電子訊息」做維繫，其實這也反映了現代社會中，人與人的關係大部份只藉由網路、電話、資訊會議，遠距傳輸相互溝通，雖很有效率，很文明但卻缺乏人性的接觸。

"Artificial Nature"─"Flower Pillars"

Digital Prints on Acrylic Light Boxes
3D Animation, Laser
Art Center of National Taiwan University of Arts
250 x 50 x 50 cm (each) x 4
80 x 80 x 85 cm x 1
2004, 2005

This is a piece composed of 5 pillar-shaped acrylic light boxes. I applied the printed-out images of computer IC boards and flower patterns onto geometric and pillar-shaped acrylic light boxes to symbolize the shapes of industrial machinery or buildings. Also, I introduced one 3D images of butterfly in the middle piece to construct a manmade "Technical Garden", in which were the flower and butterfly "manufactured" by IC boards and communicating with each other via "messages" (laser beams). In fact, such coldly detached relationship states a reflection of our interpersonal relationships in this digital era.

「非自然」─《溫室培育》

壓克力，數位圖像輸出，3D動畫，電動轉盤，LED燈，DVD放映機
紫花溫室、紅花溫室、黃花溫室、藍花溫室
80 x 80 x 70 cm (each) x 4
台灣藝術大學藝文中心
華山藝文特區
上海多倫現代美術館
台中臻品藝術中心
2004, 2005

3D電腦動畫的發展已改變了人們對影像的認識，也改變了人類對真假影像辨識的經驗與能力，電腦影音及特效創造了許多逼真的畫面（如電影《蜘蛛人》的飛躍、《阿甘正傳》的羽毛、《駭客任務》的爆破場景等），甚至已模仿出真實人物的形式（如電影《太空戰士》與《魔戒》的人形與肌膚等），企圖挑戰真實世界的影像。此件作品《溫室培育》主要是批判科技研發的基因工程，將人類當成物件般的培植，這種經過無塵、無菌、無機的生產過程，其實與3D動畫的構成（由線框逐漸成為形體，然後貼材質、打光線、Key動作成為一個的「活化」可自由操控的3D影像）具有異曲同工之妙！因此我將3D電腦與女體的成形過程（從頭到腳以線條形塑成體），用來比擬基因工程的電子化、無機化的生產培育方式，以批判科技的生硬與荒謬。
另外，「溫室的花朵」乃形容一個被良好環境（空間）所保護的人（尤其是女人），而這類的人可能是很脆弱且缺乏抵抗力的人。因此，我以透明壓克力如太空艙罩著360度自動環繞的花板（壓克力板貼上數位花圖像的平面圓體），與花蕊中360度自轉的3D動畫女體影像做相互循環的對映，以描繪這種只能活在溫室（無塵、無菌、無外在空氣的實驗空間）的「物種」，以及其被生產培育的醞釀過程。
同樣的模式我造了四座，而重複一樣的造型主要是強調如工廠內或實驗室中的那種規格化的「生產線」。花朵的顏色各四種，又加上以LED燈照射而顯的花與人體五彩繽紛相當科技感，而設有程式控制的LED冷光也反映了一種被控制的變幻色溫。此件所深思的是：人類若想自大以為神而想改變大自然的定律，把原來創造主看為「美」的生物加以變種、複製、培育…，這後果將是超乎人類所能設想的。《新華網》的一篇報導中就寫到「克隆人」、人造子宮、晶片植入等生物醫學技術，將對人類的社會倫理與道德造成無法控制的生態危機。

"Artificial Nature"─"Cultivation"

Digital Prints, Acrylic Board, 3D Animation, DVD Player, LED light, Motor Turntable,
80 x 80 x 70 cm (each) x 4
Art Center of National Taiwan University of Arts
Wha-Shan Art District
Shanghai Duolun Museum of Modern Art, China
Gallerie Pierre Art, Taichung
2004, 2005

「非自然」─《花非花》

數位圖像輸出，壓克力燈箱，LED燈
189 x 60 x 30 cm (each) x 6
台灣藝術大學藝文中心
華山藝文特區
高苑科技大學藝術中心
2004, 2005

《花非花》則是六件以喻表花花世界的玫瑰花為主圖像，而以六種我所批判的社會元素為背景圖，如（1）全世界各種不同的鈔票、（2）名牌Logo、（3）網路色情圖、（4）網路遊戲人物、（5）都會的大樓圖、（6）媒體報紙。這些都是我以數位手法將玫瑰花與六種不同的背景圖做影像合成，並刻意以Photoshop軟體的「馬賽克」效果來建構出的畫面。「馬賽克」是圖像的基本「原點」（如pixel般），近看是一塊塊的方形，遠看時方塊則因著錯視而消失，這是我表達花花世界所暗藏春色與誘惑的手法，遠看以為世界仍然美麗如朵朵火紅的玫瑰花，近看時才發現真正的「原貌」。燈箱是「葉子」造型，以呼應玫瑰花形，外邊繞有七彩變化的霓虹燈，把「廣告招牌燈箱」的意象更加強化，並且更接近真實（有如一些聲色場所的招牌）。
在此系列中，我更加清楚強調「招牌」的特色，除了燈箱外，還以當今最流行的「霓虹燈」環繞於燈箱外圍，以表現五彩繽紛閃爍變化的氣氛，也令人聯想到聲色場所或檳榔西施的招牌，展現了都會夜間的艷麗與熱絡景象，尤其圖案是一朵朵的玫瑰花（喻表熱情、火辣、誘人），遠看美麗動人，近看卻暗藏著春色。我以「馬賽克」手法暗示這些圖像是「負面」的、見不得人的，是不該被突顯的畫面（如電視的節目中，若拍到不該被觀眾看到的部分就會以「馬賽克」處理）。因此，被我以「馬賽克」處理的六種圖像，就是我所要批判的社會亂象，如「裸露的女體圖」是我對色情文化的批判，因為「色情的行業」不但氾濫於每個角落裡，也滲透於無遠弗屆的網路中，以挑逗人們肉體與眼目的情慾，因此，這種氾濫程度，就連我要挪用這些圖像也是輕而易舉的從網路上找到且立刻可下載，這正是社會暗藏的嚴重問題之一。
因此，在《花非花》作品中所應用的這種閃閃發亮的招牌以及所凸顯的玫瑰及底部各種圖像，遠看以為很美，但近看卻是一個個小方塊暗藏各種亂象的「馬賽克」，而圖像放大後所呈現的pixel（元素原點），正是我所要描繪的文明社會原貌，當這些原貌被放大近看後而暴露其真面目，就如台灣的社會：表象看似繁榮平安無事，但真正的內幕卻暗藏各種亂象及令人擔憂的問題，這也是我所批判的文明社會那種自欺欺人的「表象」功夫，以及所暗藏那危機四伏的真象。

"Artificial Nature"─"Flowers but not Flowers"

Digital Prints on Acrylic Light Boxes, Neon Light
189 x 60 x 30 cm (each) x 6
Art Center of National Taiwan University of Arts
Wha Shan Art District
Kao Yuan University Art Center
2004, 2005

This piece consists of 6 acrylic light boxes. Each box presents one large rose image as the major picture combining different image of social element on the background. The elements of background in each box are (1) World Currencies, (2) Logos, (3) Internet Pornographies, (4) Internet Games, (5) Metropolitan Buildings, and (6) Newspapers. I used digital techniques to compose the images of the roses and the six background images, and then deliberately enlarged these images to show the Pixel. As we know, "Pixel" is the fundamental point of images; what look like individual squares but will be disappeared visually because of an optical illusion from a further distance. This is the way I convey the sensualities and temptations hidden within our society - not until you look at the whole world up close can you discover its original face, which you, the distant viewer, used to consider as beautifully blooming roses. All the pieces are shaped like leaves to echo the shapes of roses; surrounded by varicolored neon lights to represent the look of advertising signs in city.

「浮光掠影」－《捕捉》

1件3D立體蝴蝶投影，2件垂直蝴蝶投影，15件光柵蝴蝶影像標本
3D動畫，偏光眼鏡，白手套，投影機，光柵片，電腦，感光螢幕，冷光片
300x400x300 cm 暗室，28 x 33 x 3 cm (each)，光柵標本 x 15
台北當代藝術館
2004
贊助單位：台北市政府文化局，金楊科技有限公司，愛爾得資訊股份有限公司

這作品乃由三個相關的創意所組成：1、以雙投影將成群的3D蝴蝶投影於入口的正視牆面上，當觀眾戴上立體偏光眼鏡時，一隻隻美麗栩栩如生的蝴蝶就立體的呈現在眼前。2、為了滿足人類想觸摸捕捉蝴蝶的心態，我建立了兩座假花圃，花圃的正上方（天花板）投影出蝴蝶的影像，當觀眾戴上白手套伸出手時，蝴蝶影像即呈現在手面上。這是可與觀眾互動的作品，而達到真實與幻象的趣味性，尤其在漆黑的暗室中，觀眾看到立體蝴蝶，又能試著去捕捉牠們，以滿足一種擁有的慾望。
人類捕蝶之後就想將美麗的蝴蝶做成標本加以保存，我以壓克力做成如「螢幕」的造型，再打上冷光的LED燈做為科技蝴蝶的「標本」意象，而蝴蝶並非是實物，乃是由3D影像結合光柵板所創作出來的立體且具動態的影像。另外，每一標本皆有編號，猶如一個被實驗的物體，在被銷毀後儲存如標本般的供人欣賞悼念。
這系列的作品乃再次強調人類若不珍惜大自然，總有一天只能欣賞、捕捉、悼念曾擁有的「真實」，而取而代之的卻是一種幻象、幻影的虛擬實境。因此反諷的是：「蝴蝶標本」也是假（幻影）標本，雖然生動美麗卻只是科技產品。另外，又猶如以眼鏡看到的3D立體蝴蝶，雖栩栩如生，但卻是藉著高科技的媒介（3D動畫、雙投影、特殊螢幕、偏光眼鏡）所產生的一種錯覺（虛擬實境）；又猶如白手套上的蝴蝶影像，以為可以捕捉之，但卻只是影像短暫的乍現與停留，這其實也凸顯出科技帶給人類的一種不真實感與短暫性，過程中雖然誘人，雖引人入勝進入一種虛幻的世界裡，但當步出這空間後，因為無法擁有真實，就會陷入一種失落、患得患失、真假錯亂的情境。因此，「捕捉」其實是反思：「真的能『捕捉』到甚麼嗎？」

"Catching"

Images of Butterfly Project in a Darkroom, 15 pieces of Digital Butterfly Specimens,
Butterfly of 3D Animation, 3D Polarized Projection system, Lenpicular Lens, Electroluminescent, White Gloves, Computers
Museum of Contemporary Art Taipei (MOCA)
2004
Sponsored by Department of Cultural Affairs, Taipei City Government,
Golden will Technology Corp., i-Art Corporation

This exhibition is a continuation of my 'Back to Nature' Series with a rather bold attempt by using the entire darkroom to present a new concept. Together, three related installations in the darkroom are: (1) On the wall opposite the entrance is shown the "Virtual Reality" image of a group of butterflies in 3D Polarized Projection System. By wearing 3D glasses the audience can experience the pleasure of catching butterflies. (2) One artificial garden with images of butterflies projected has been created to satisfy human beings' desire to touch and catch butterflies on hands with white gloves. It interacts with the audience to achieve a certain degree of interest, but what they can see and touch is in fact an illusion. (3) 15 specimens of "Virtual Butterflies" are hanged and displayed between other two installations. It was the common human behavior after one catches a butterfly will turn it into specimen. I therefore used Lenpicular Lens, Electroluminescent and acrylic boards to make 15 pieces of "Virtual Butterfly Specimens". It is to bring up the question of when "Butterflies" and "Specimens" become a sort of illusion one day, what happens to the environment we actually live in?

《美麗人生》

數位圖像輸出，塑膠布，木軸
300 x 90 cm (each) x 32
美國紐約皇后美術館「台灣藝術家在紐約」國際藝術展
2004
贊助單位：宏碁數位藝術中心

將放大後的數位《清明上河圖》與當今社會的報紙新聞廣告結合，運用電腦合成創作34幅垂吊的捲軸，並裝置在美術館中庭位置而形成大型漩渦式的造型，遠看是幅美麗的傳統水墨都市景觀，但觀眾直接走進這一個漩渦式捲軸環境，仔細觀察後則發現風景與報紙圖文併置，恰如一個放大的社會事件，產生一種現代與過去的迷失。此作品命名為《美麗人生》，乃企圖反諷外表看似美麗的當今社會，有如《清明上河圖》所描繪的繁榮快樂景象，其實近看卻充滿了許多政治、社會、經濟與文化亂象，而這些亂象正由報紙的內容再現一覽無疑。

"Beautiful Life”

34 panels of digital print on vinyl
300 x 90 cm (each) x 32
Queens Museum of Arts, New York, USA
2004
Sponsored by Acer Digital Art Center

Through the re-presentation of versatile aspects concerning Taiwanese society, the artist manipulates headlines and ads from daily newspapers as elements to combine into a large creative works. These complicated documents engage not only events occurring in contemporary time and space, but also thoughts, behaviors, affections. The vehicle of the press, engages popular readers with social trends and myths that are laid bare by the uncommon and challenging juxtaposition of images and text. A collection of selected newspapers turn into miniature the activities of man’s thoughts through what may be termed fragments of information or documentation. These new works redistribute our thoughts and affections into a new form of currency. The collection is embedded with multiple layers of significance.
Taking advantage of the popular ancient painting “Along the River During the Ching-Ming Festival” the artist has produced a long-scroll, suspended Chinese painting. The artist creates a whirlpool-like circular space that is accessible and can be engineered depending on the size of the exhibition space. When confronted by this creative work, one is lost between the past and the present in both constructions of time and space. Upon zooming in, the work is found to be dotted with contemporary news and photos; yet while zooming out, an ancient painting of “Along the River During the Ching-Ming Festival” is revealed.
Irony is the driving force of this work. By giving the space the title of “Beautiful Life”, the artist attempts to lead the viewers in an examination of the environment that has been invaded by the mass media today. Appealing to be so prosperous, beautiful through the aid of dynamite (as the prosperity of the society illustrated in the ancient painting of “Along the River During the Ching-Ming Festival”) may in fact provoke complicated, unpredictable, and even ugly responses. The space in the anti-sarcastic configuration created by this work out of newspaper media is indeed like a circulation (currency) system wherein the reader is affected and manipulated without knowing yet in turn continues to carry out another round of mocking reproduction.