Portfolio List

私密信件小史,影像裝置,2023

本作以北投的歷史地景為核心，透過書寫與AI圖像生成技術，探討記憶、個體敘事與地方文化的交織。北投，源自平埔族語「Pataw」，意指女巫之地，其地理與文化承載著豐富的歷史痕跡。在此脈絡下，長者的記憶被召喚，以書信的方式對過去、未來或虛構對象訴說未竟之語，透過個人書寫重構集體歷史。

這些書信進一步被轉譯為影像，藉由AI技術生成一場關於北投的數位幻景。記憶的視覺化並非單純的復原，而是一場跨時空的轉換，將個人回憶、地景變遷與機器學習的運算結果交疊，使歷史影像在演算法的解析中成為流動的記憶載體。

本作透過科技介入記憶的形塑，探討地方歷史如何在數位時代被重構，並揭示個體記憶在科技主導的視覺生產機制中所產生的變異與遞嬗。過去與未來、真實與虛構在這場文本與影像的對話中交錯，回應當代數位時代中記憶的儲存、再現與遺忘。


Epistolary Echoes , Video Installation , 2023

This work engages with the historical and cultural landscape of Beitou, a site imbued with layered narratives of indigenous mythology and colonial modernity. Deriving its name from the Pingpu term Pataw, meaning "land of the shamaness," Beitou is both a physical and psychological terrain where personal memories and collective histories converge. Through the act of letter writing, participants inscribe their recollections into intimate correspondences addressed to the past, the future, or imagined entities, invoking personal narratives as an archive of place and time.

These letters undergo a process of digital translation, reconfigured through AI-generated imagery into a spectral landscape of memory. Rather than a mere restoration of the past, the work enacts a temporal displacement—melding individual recollections, site-specific transformations, and the computational logic of machine learning. The algorithm, as both a mediator and distorter of history, reshapes recollection into an evolving visual lexicon, blurring the boundaries between historical documentation and synthetic remembrance.

By interrogating the role of technology in shaping cultural memory, the work reflects on how local histories are reconstructed, fragmented, and reimagined in the digital age. In this interplay of text and image, past and future, the real and the artificial, the project examines the unstable nature of remembrance, revealing how memory is not only preserved but also perpetually rewritten in the era of algorithmic vision.

日日暖暖的浴池-百美藝伎,影像,5分20秒,2023

《日日暖暖的浴池——百美藝伎》以1920年代日本殖民統治下的臺灣大正時期為背景，探討殖民視覺文化與女性身體的敘事。本作靈感來自1926年《臺灣日日新報》 刊登的一則歷史廣告，該廣告由東光油脂株式會社發佈，推廣其產品「東光石鹼」，並發起以臺灣各地藝妓為對象的「百美藝妓寫真徵集活動」。這場活動既是商業策略，同時也作為殖民統治下的文化治理手段，透過浴場文化來推動政府規範之下的衛生現代性與身體管理。

藝術家透過AI 生成影像與電腦動畫重新詮釋這段歷史，批判性地檢視女性身體、商品化與殖民凝視的交織關係。作品探索了美的展示與身體治理之間的緊張關係，揭示殖民權力如何將女性身體塑造成既是欲望的對象，也是國家現代化計畫中的象徵。透過數位技術重構這段視覺檔案，作品將這些轉瞬即逝的藝妓身影置於運算合成的空間之中，質疑科技如何調停歷史記憶。在對殖民影像的重構過程中，《日日暖暖的浴池》反思殖民時期的視覺文化如何持續滲透並轉化為當代數位美學的一部分，揭示幽靈般潛伏於當代敘事中的性別、權力與再現問題。


Daily Warmth of the Bathhouse – One Hundred Geisha ,Video, 5’20’’, 2023

Daily Warmth of the Bathhouse – One Hundred Geishais a video work set against the socio-political landscape of Taiwan’s Taishō era under Japanese colonial rule in the 1920s. The work draws from a historical artifact: a 1926 advertisement published in the Taiwan Nichinichi Shinpō by the Tōkō Oil & Fat Corporation, promoting Tōkō Sekken (Tōkō Soap). The campaign, which sought photographic submissions from geisha across Taiwan under the banner of One Hundred Beautiful Geisha, served as both a commercial strategy and a colonial instrument for reinforcing state-sanctioned ideals of hygiene and modernization through bathhouse culture.

By reinterpreting this historical narrative through AI-generated imagery and computer animation, the artist critically examines the entanglement of female bodies, commodification, and the colonial gaze. The work navigates the tension between beauty as spectacle and the biopolitical mechanisms that framed women’s bodies as both objects of desire and symbols of a disciplined, ‘modern’ society. This digital retranslation situates the ephemeral figures of these geisha within a computationally synthesized space, interrogating the ways in which technology mediates historical memory. In reconstructing this archival past, Daily Warmth of the Bathhouse questions how colonial-era visual culture persists and mutates within contemporary digital aesthetics, exposing the spectral undercurrents that continue to shape our understanding of gender, power, and representation.

山鬼日傘,影像,15分00秒,2022

作品《山鬼日傘》以四個名詞山、鬼、日、傘，去串接成一個動詞所彰顯的一連串敘事，敘事改編自一段真實故事：關於一位小女孩罹患血癌去世，所衍生的種種事跡；其中「山中的迷霧裡」、「遇鬼」、「日光下將鬼請下山」和「在傘裡的鬼」四個階段，以抽象敘事的方式做為影像引動出竅靈魂的概念。

本次作品談論動畫技術與鬼影、幻影間的關係，而那個「鬼」，指的是動畫中視覺殘像的錯覺，鬼穿梭在每個時間與空間的「結點」中，它藉由「肉眼」跟不上「機器之眼」而產生幻象及靈魂騷動，早在1896年喬治．梅里愛（Georges Méliès）停抽格技術的世界觀中，就以此產生了許多鬼魅的奇觀幻影；到如今，藝術家以動畫替身、演算法和換臉等技術，將現代人的身體，置換在一個幻影時空的百年流轉－回到梅里愛的影像過去。

Mountain, Ghost, Sunlight, Umbrella ,film,15min00sec, 2022

Mountain Ghost Sunshade constructs a temporal palimpsest through a synthesis of four conceptual signifiers—mountain, ghost, sun, and umbrella—articulated as a performative sequence of cinematic gestures. Rooted in an actual event—the untimely death of a young girl from leukemia and the spectral narratives that emerged in its wake—the work unfolds across four abstracted phases: Mist in the Mountain, Encountering the Ghost, Calling the Ghost Down from the Sunlight, and The Ghost Within the Umbrella. These episodes function as interstitial thresholds through which the spectral is not merely represented but invoked as a generative force of the moving image.

At the core of this work lies an inquiry into the ontology of the animated image, where the notion of the "ghost" is reframed as a perceptual disjunction intrinsic to the moving image’s residual temporality. The ghost’s traversal of spatial-temporal junctures is an echo of the paradoxical gap between human vision and the machinic eye, a phenomenon first interrogated in Georges Méliès’ cinematic experiments with stop-motion in 1896. By foregrounding the ruptures between embodied perception and the digital apparatus, Mountain Ghost Sunshade mobilizes contemporary animation techniques—algorithmic substitution, synthetic doubles, and deepfake interventions—to reconstitute the body as an unstable, transient entity suspended within a spectral temporality. This spectral framework collapses historical cinema’s illusory constructs into the generative matrix of contemporary digital aesthetics, forging a recursive loop where the cinematic past and digital futures coalesce into a phantomic continuum.