日日暖暖的浴池-百美藝伎,影像,5分20秒,2023
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 is 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 geishas across Taiwan under the banner of "One Hundred Beautiful Geishas," 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 how 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.
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 merely restoring 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.
輕輕，動態影像，5分03秒，2023
《輕輕》為對臺灣膠彩畫家郭雪湖1969年作品《淡江群舟》之轉譯與當代重構。藝術家在北藝大就學期間，經常前往淡水臨海地區觀察光影與空間，與郭雪湖筆下港灣景致所蘊含的視覺記憶與身體經驗產生共振。本作結合生成式 AI、數位拼貼與動畫編排技術，透過演算法生成與人工干預交織，重構海港、船艦與遠山意象，建構一種穿越時空的視覺敘事場域。藝術家藉此回應郭雪湖描繪地方記憶的繪畫語彙，並在當代表現中探討記憶的生成性、圖像的再現性，以及地域文化的詩性延展。
委託單位：尊彩藝術中心、郭雪湖基金會
Light,5 min 03 sec
Gently is a contemporary translation and reconstruction of Boats on the Tamsui River (1969), a seminal gouache painting by Taiwanese artist Kuo Hsueh-Hu. During her studies at Taipei National University of the Arts, the artist frequently visited the coastal area of Tamsui, where her embodied experiences resonated with the atmospheric memories evoked in Kuo’s harbor scenes. This work combines generative AI, digital collage, and animated composition, interweaving algorithmic synthesis with manual intervention to reimagine boats, waves, and distant mountains. Through this commission, the artist engages with Kuo’s visual language of local memory, while exploring the generativity of recollection, the re-representational nature of images, and the poetic extension of regional culture in a contemporary context.
Commissioned by Liang Gallery & Kuo Hsueh-Hu Foundation
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《獵人・山・魔神仔》，動態影像，5min，2023
本作起源於一個反覆縈繞藝術家的提問：「為何獵人，即使深入山林，也終將放下獵槍？」這個問題不僅關乎人與自然的關係，也牽涉到對於力量、信仰與恐懼的深層省思。藝術家以自身童年在山林成長、聆聽靈異傳說的經驗為基礎，結合AI生成影像與數位拼貼技術，召喚出潛藏於台灣山區傳說中的「魔神仔」——那些介於人類視野邊緣、無法被歸類的幽靈存在。
「魔神仔」在作品中並非作為具體妖怪或民俗再現，而是一種文化記憶與情緒張力的載體。藝術家將之視為山林中對獵人的凝視——既陌生、又熟悉，既是獵物，也是鏡像。當科技生成與民間信仰相遇，這些靈體被重新拼貼為超越現實與虛構的數位靈影，引導觀者思考：當人類失去對自然的主導權，我們是否仍能以同理而非控制的姿態，凝視那片曾被我們武裝穿越的山林？
Hunter, Mountain, and Mo-shin-a, Moving Image, 5min, 2023
This work begins with a haunting question: Why does the hunter, even deep in the mountains, eventually lay down his gun? It is a question that touches not only on the relationship between humans and nature, but also on the fragile boundary between power, belief, and fear. Drawing from the artist’s childhood experiences in Taiwan’s highland villages—where tales of spirits and mysterious beings known as mo-shin-a permeated everyday life—the piece employs AI-generated imagery and digital collage to summon the spectral presence of these forest phantoms.
In this narrative, the mo-shin-a are not literal folkloric beings, but symbolic manifestations of emotional memory, unresolved trauma, and ecological reflection. They emerge as quiet observers in the forest—part myth, part mirror—gazing back at the hunter with neither accusation nor mercy. Through the interplay of algorithmic generation and human composition, these figures dissolve the line between creature and code, memory and simulation.
By reimagining the encounter between hunter and ghost, the artist asks: What happens when the hunted becomes the witness? And what inner transformation begins when we disarm ourselves before the unknowable?
《雙生》，動畫短片，改編真人真事，6分24秒，2023
《雙生》是一部改編自真人故事的動畫短片，描述1980至1990年代間，居住於新北市工業區的一對雙胞胎女孩的生命歷程。故事聚焦於其中一位罹患血癌的小女孩，儘管其雙胞胎姊妹擁有相符的血型，卻因當時的法律規範無法進行捐贈。作品透過動畫形式，細膩描繪病痛帶來的生命困境與家庭張力，同時展現人性中的無私與深情，呈現姊妹之間不可割捨的情感紐帶。
本作亦為藝術家後續創作《山鬼日傘》系列的概念原型動畫。透過參與花蓮慈濟醫院骨髓幹細胞中心推廣計畫，藝術家得以深入醫院場域，田野觀察並訪談血癌患者，甚至親歷臨終現場，讓作品敘事層次更為深刻、真實。
特別感謝林昶仲醫師對本計畫的大力協助。林醫師為《Have I found you? 比對中的我們——造血幹細胞資料庫創作計畫》之發起人，致力於透過藝術跨域合作，推動社會對於幹細胞捐贈與血液資料庫建檔的關注與參與。
本片運用AI技術還原藝術家童年所處的生活場景，結合真實記憶與虛構敘事，建立一種介於紀錄與幻覺之間的影像語彙，藉此探問生命、記憶與倫理的交會邊界。
Twins, Animated Short Film, Based on a True Story ,6 min 24 sec,2023
Twins is a deeply moving animated short based on a true story from the industrial zones of New Taipei City during the 1980s and 1990s. The film follows the lives of a pair of twin sisters, one of whom is diagnosed with leukemia. Although her sibling is a compatible blood match, legal restrictions at the time prevented the possibility of donation. The animation delicately portrays the emotional and physical struggles brought on by illness while illuminating the unbreakable bond between the sisters, marked by sacrifice, love, and a quiet strength in the face of powerlessness.
This work serves as the conceptual origin of the artist’s later project, The Mountain Ghost and Her Parasol. Through participation in the Hualien Tzu Chi Hospital’s Hematopoietic Stem Cell Center outreach program, the artist conducted field research, visited leukemia patients, and witnessed the final stages of terminal care. These first-hand experiences gave greater narrative depth and emotional weight to the work.
Special thanks to Dr. Chang-Chung Lin for his support. Dr. Lin is the founder of the project Have I found you?—a transdisciplinary initiative aimed at promoting awareness of stem cell registration and public participation through art.
The animation integrates AI-generated visual reconstructions of the artist’s childhood and domestic environments, blending factual memory with imagined narrative. Through this synthesis, Twins constructs a visual language situated between documentation and dreamscape, raising questions about memory, identity, and the ethical entanglements of life and loss.