Education :2015-2018 Master of Fine Arts – John C. Hench Division of Animation and Digital Arts, University of Southern California 2009-2013 Bachelor of the Fine Arts – Dept. Of Fine Arts, Division of Painting, National Taiwan Normal University
Skills:Dragonframe | After Effects | Premier | Photoshop |Illustrator | Agisoft | Maya (Domemaster VR Plugin) | Graphic Design | Exhibition Design | Installation Design | Virtual Reality Design | Process-Driven Project Design | Collage Art with found objects | Hands-on techniques like ceramics, watercolor, sketch, ink, calligraphy, etc.
Artist Statement: Originally from Taiwan, I began as a fine artist investigating realism in painting and drawing. My work has evolved into multimedia works examining the existence of matter and the tension between the perceived “surface layer” and an imagined “flowing underlying layer.” I examine this tension in diverse subject matter utilizing collaged physical everyday objects and organic textures.
Six years ago, observing and shooting mold growing on a wall day by day, I observed the decaying process via time, environment, and human factors. Wall mold grows, decomposes and proliferates in a similar way to more highly evolved creatures. By analyzing the conditions and the motion and comparing it to biological evolution, “Step by Step” (Stop motion, 2012) became the pilot animated film for three animation installation pieces in 2013-2014: “Semi-liquid Space”, “Breeding Ground” and “Fish-Bird Community”. These three pieces contained imaginative organic design that evolved in three different manners: living characteristics, sociological metaphor, and exploration of techniques intended to visualize the growth of the mold. I am interested in the duality of what you see versus what lies underneath.
My ideas are inspired by the both the concept “Assemblage” proposed by Deleuze & Guattari, and the concept “Plissement” by Merleau-Ponty. “Assemblage” examines social complexity and its relationship to emphasizing fluidity and exchangeability. “Plissement” emphasized the body as the primary site of knowing the world, and that which is perceived cannot be disentangled from each other. These philosophies permeate my own work in both the ideation process and the visualization.
The animation installation, “Mental Black Hole” (2016) examines how people perceive depression as opposed to the invisible activity taking place in the brain. This media-based installation, in the form of physical space with three-channel projection, presents a creative interpretation of the amygdala and hippocampus’ physical manifestations of depression. “Relation • Ship” (2018) is a film and virtual reality experience which is originally designed as the walkthrough installation. Initially the audience witnesses evocative gestural performance animation of the main character, “Fish Bone Queen,” giving away precious gifts from her own body. Upon entering the virtual reality environment, the viewer is immersed in a living bodyscape. This idea mirrors the perceived natural world and fluctuations in human relationships.
Currently, I am utilizing technique, photogrammetry to alloy physical and virtual components for designing immersive experiences and hybrid animation.