PEY-CHWEN LIN（1959- ）
1996 Doctor of Creative Arts, University of Wollongong, Australia
1984/1985 M.A/B.F.A., Central Missouri State University, USA
ACADEMIC EXPERIENCE
Base in Taipei and Kaohsiung in Taiwan, Pey-Chwen Lin was born in Taiwan in 1959. She has received many art awards and recognitions, including Taiwan Chung-Shing Award, Taiwan Public Art Award, Red Dot Award, Australian Visa of Distinguished Talent, One of The Best Asian Artists Selected by Picasso Mio, The First Prize (FELLOWSHIP PRIZE 2020 – Platinum Certificate Award in Art Project category) in Art Woman 2020 International Exhibition, PPLG Project & Services for the Culture and Contemporary Art Italy, and The First Prize of New Media Art in 2019 Italy XII Florence Biennial of International Award ‘Lorenzo il Magnifico’. Her works have been presented in many major museums and galleries all around the world, such as Queens Museum of Art in New York, CUNY/ QCC Art Gallery in New York, Godwin-Ternbach Art Museum in New York, New York Art Foundation, TAAC Tribeca/ E. Tay/ R Gallery, American University Art Museum in Washington DC, San Francisco State University Art Museum, Moscow Platforma Art Space, WRO ART Center in Poland, Lviv National Art Museum in Ukraine, Museum of Contemporary Art in Skopje, Croatia: Galerija AŽ Atelieri Žitnjak in Zagreb, Slovenia: SCCA–Ljubljana Center for Contemporary Arts, Germany: Art Space ‘Rosalux’ in Berlin, National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, MOCA Taipei, Kaohsiung Museum of Art, Taidung Museum of Art, Tainan Art Museum, Guandu Art Museum, Fong-Chia Art Museum, MoNTUE Museum, Shanghai Museum of Contemporary Art, Shanghai Doland Museum of Fine Arts, Beijing 798 Artist Village, etc. Additionally, her works have been exhibited in many important biennales, exhibitions, festivals and art fairs such as Florence Biennale, Taipei Biennale, Taiwan Biennale, Poland WRO Media Art Biennale, Douro Printmaking Biennial, French Exit and Via Festival, 404 International Technology and Art Festival, Art Woman 2020 Italy PPLG, Asian Women’s Art Exhibition, 40 Years Taiwan Contemporary Art Exhibition, Taipei Art Fair, Taichung Art Fair, Singapore Art Stage Art Fair, among others.
SELECTED SOLO EXHIBITIONS
| 2006 | “The Beautiful New World”, 798 Art Village, Dimensions Art Center, Beijing, China |
| 2005 | “Fascination & Frustration”, Artist Space of National Hsinchu University of Education/ Art Center of Kao Yuan University, Hsinchu/Kaohsiung, Taiwan |
| 2006 | “Artificial Life”, Art Center of National Central University, Taoyuan, Taiwan |
| 2011 | “Eve Clone Series”, Museum of Contemporary Art, Taipei, Taiwan |
| 2011 | “Eve Clone Series II”, Galerie Grand Siecle, Taipei, Taiwan |
| 2012 | “Eve Clone Series III”, Art Stage Singapore, Singapore |
| 2015 | “Revelation‧Notification –Solo Exhibition by Lin Pey-Chwen”, National Tsing Hua University Arts Center, Hsinchu, Taiwan |
| 2017 | “Making of Eve Clone”, Galerie Grand Siècle, Taipei, Taiwan |
| 2018 | “Making of Eve Clone II”, B.B.Art, Tainan, Taiwan |
| 2019 | “Making of Eve Clone III”, The Fine Arts Museum of National Defense, Taipei, Taiwan |
| 2019 | “Eve Clone Augmented Reality”, QCC Art Gallery, CUNY, New York, USA |
| 2020 | “Body Manifestation : Pey-Chwen Lin Solo Exhibition”, Da Xiang Art Space, Taichung, Taiwan |
SELECTED JOINT EXHIBITIONS
| 2018 | “404 International Festival of Art and Technology”, The University of Massachusetts Lowell Art Center, Massachusetts, USA |
| 2018 | “Douro Printmaking Biennial”, Douro, Portugal |
| 2018 | “XXI Symposium Neuroradiologicum”, Taipei International Convention Center, Taipei |
| 2018 | “GZ-BASEL” Parallel Exhibition of Art Basel, Basel, Swiss |
| 2018 | “GZ-New York”, New York, USA |
| 2018 | “Should We Play?”, Taipei Art District Festival, Taipei, Taiwan |
| 2018-2019 | “Femi–Flow: Creating Female Subjectivity in Art”, National Taiwan Craft Research and Development Institute, Nantou/Taipei, Taiwan |
| 2019 | “Being Here as ME: New Media Art Exhibition of Women Artists from Taiwan”, American University Museum, Washington DC, USA |
| 2019 | “GZ-XPO London –Art and Awareness Exhibition”, London, England |
| 2019 | “Light Year 53: From The People To The Land”, Manhattan Bridge Anchorage, New York, USA |
| 2019 | “Urban Tribes”, New York Foundation for the Arts/ El Taller Art Center/TAAC Tribeca/E. Tay/R Gallery, New York, USA |
| 2019 | “Cross-border and Hybrid”, Art Taipei, Taipei |
| 2019 | “XII Florence Biennale”, Florence, Italy |
| 2020 | “Art Woman 2020”, PPLG |
Portrait of Eve Clone
Media: 3D Animation, Moving Hologram, Acrylic Frame, Spotlight
Size: 57x45x3cm
Year: 2010 ~
The Portrait of Eve Clone exhibited at MOCA Taipei in 2011 used 3D animated holograms as the medium to present her charming gaze and posture. She only lived under the spotlight (without light, Eve Clone was invisible). What was rarer was that when the viewer saw her from different angles, her gaze followed and stared at the viewer, whereas when the viewer stood still to look at her, she stopped moving. Like Eve Clone, the technological culture is attractive, yet it seduces and controls humans, like the Whore of Babylon.
Revelation of Eve Clone III
Media: 3D Animation, Digital Image and Sound, Interactive System, 3D Printing Object,WebCam, Computer, Projector, Stereo Interactive installation Dimensions Variable
Year: 2011
Revelation of Eve Clone III was created and exhibited at the “Post-Humanist Desire” international art exhibition at MOCA Taipei. I used 3D animation to recreate all the characteristics in Revelation of Eve Clone I, such as reproductivity and the Time Code. Additionally, I added the Whore of Babylon, the Number of the Beast, and Bible verses related to the Great Image in the “The Book of Daniel. In this exhibition, Eve Clone’s body had the texture of a golden head, a silver body, a brass belly, iron legs, and half-iron, half-clay feet. Her body, which looked like a fetus with a bowed head, was now a more attractive female body.
Moreover, to show that she was the worshipped Great Image, I printed the animation file of Eve Clone into a 3D golden head, sticking it in the middle of the image so that the audience could touch the Number of the Beast on her forehead. This act of touching had multiple meanings: having sexual intercourse with her, being imprinted with the Number of the Beast, and raising a hand to worship her. In addition, it triggered Eve Clone to raise her head and dance, as if giving her life. The Time Code that keeps changing on the top of her head and the random Bible passages at the bottom of her feet together with the background music with weird iron rubbing sounds that sound like fake hymns convey a feeling of spookiness to the viewers.
Eve Clone IV/V
Media: 3D Animation, Digital Image and Sound, Interactive System, Kinect, WebCam, Computer, Projector, Stereo
Dimensions Variable
Year: 2011
Created using 3D animation, interactive computer programs, infrared sensors, and webcams, Eve Clone IV/V is an interactive audiovisual installation that features six large-scale “Eve Clone” projected across a three-dimensional, hexagonal arrangement. Incubating in liquid, the Eve Clone is a large alien life form with Number of the Beast, 666 in different languages, on her forehead as a symbol of evil. As viewers approach and their motion are detected in the vicinity, the Eve Clone vigilantly turns her head to gaze at them. With the audience’s moving, it controls her head’s angle, and Eve Clone’s eyes will also follow. it seems that the audience dialogues with huge “Eve Clone” in this queer environment to bring the hidden danger behind the high-tech development out.
Making of Eve Clone I
Media: Digital Image and Sound, Computer, Media Playser, Projector, Stereo Dimensions Variable
Year: 2016
Pey-Chwen Lin’s digital audio and video installation, Making of Eve CLone I, was awarded the First Prize in the category of New Media Art at the 2019 Florence Biennale in Italy. https://www.florencebiennale.org/en/jury-2019/
In the video Making of Eve Clone I, I looked back and represented the process of me creating Eve Clone and the evolution of her body in each period. From the original drafting of Eve Clone, which recorded my inspiration of drawings, to using computer 3D Maya software to construct grids, the pictures of each stage were as follows: human-like skin tone, metal-like color, holograph-like green, and a body depicting the Great Image with golden head, silver body, bronze belly, iron feet, and half-iron, half-clay feet, the body rotating 360° and changing shape. Because of the 3D visual illusion, Eve Clone seemed to be surfacing from da Vinci’s manuscript into a three-dimensional body. In combination with sound effects, a mysterious and weird feeling was created. In the middle of the video, I specifically presented the actual record of how to inspect the body ratios of Eve Clone in the computer software by showing the computer interface, 360° space, camera, and timeline. I also intentionally kept the patterns, symbols, icons, and images that only the computer can create so as to contrast them with da Vinci’s sketches, who in his time could only conduct two-dimensional drawings by hand, thereby indicating that the body of Eve Clone I created was more vivid, three-dimensional, and digitized than his Vitruvian Man. Additionally, the mirrored writing of da Vinci’s work was replaced by me with Bible verses about the Great Image and the Whore of Babylon using his mirror writing, and I replaced his signature with mine as a code, in that the viewer could hardly notice that da Vinci’s words and signature were altered by me.
Making of Eve Clone Documentation I/1-10 Head and Hands
Media: Digital Prints, Hand Drawing, 3D Animation, Augmented Reality Installation, tablet computer
Size: 54x72x3cm
Year: 2019
For Making of Eve Clone Documentation I series, I overlap both head and hand part of Leonardo Da Vinci’s manuscript with the line sketch and grid of Eve Clone’s head and hand part in order to accentuating the golden ratio of Eve Clone.
Although Leonardo Da Vinci’s manuscript use male as model, the face ratio of Eve Clone is still highly similar with his manuscript keeping signs of computer software which I design that in purpose as contrast of digital file and manuscript document.
Making of Eve Clone Documentation II
Media: 3D Animation, Digital Prints, Hand Drawing
Size: 105×74.7cm
Year: 2017
The origin of Documentation of Making of Eve Clone II series is from the animation Making of Eve Clone I. I select three parts of the grid body of Eve Clone such as golden-head with silver-chest, silver-chest with coppery abdomen, iron leg with half iron half mud feet, and combine with Leonardo Da Vinci’s manuscript to emphasize “Great Image”.
Then I add signs like computing line sketch, grid, icon, camera, controller…, and create six digital prints with opposite color which is original sketch color and white line on black base. Last, I add my hand-writing annotation to depict the essence of “Great Image.”
Making of Eve Clone Portrait IAR/1-6
Media: Digital Print, Hand Drawing, 3D Animation, Augmented Reality Interactive Installation, tablet computer
Size: 84x65cm
Year: 2019
“Making of Eve Clone Portrait” received the First Prize in ART WOMEN International Exhibition held by PPLG in Italy
（FELLOWSHIP PRIZE 2020 – Platinium Certificate Award ／Best concept on the trilogy of the word “Culture-Territory-Identity”)
https://primopianospecialprojects.com/art-woman-2020/prizes-award/
I used the augmented reality (AR) technique to transform Eve Clone from static to dynamic images, as if Eve Clone entered from a plane to the real space. The viewer can use a tablet computer to interact with Eve Clone to the left and to the right. They can discover that the wireframe of Eve Clone moves, emerging from the frame and wandering between the left and right pictures. It is as if Eve Clone is entering from the digital era on the right side of the black background, moving to the era of da Vinci’s draft on the left side, and then returning to the right side again. Eve Clone is like a soul existing in the three-dimensional space, continually being juxtaposed and integrated with the main body of the original image.
Making of Eve Clone BP 1-6
Media: 3D Animation, Hand Drawing, Aluminum Plate
Size: 42×29.7x2cm
Year: 2020
This series prints show six wire-framed body images of “Eve Clone” in six angles excerpted from the video of “Making of Eve Clone I”. Also, the texts about the “Whore of Babylon” were taken from the Book of Revelation to show the identity and ultimate fate of “Eve Clone”. The antithesis of images and texts on the right and left side is to declare the relation between the two. The marks and icons of computer software are purposely kept on the top and the bottom of the prints. The aluminum plate is applied as the media to represent the reflection effect of computer screen. Finally, the symbols and numbers are scraped by hands on the top of the aluminum plate to present multiple-layered symbols and languages.
Making of Eve Clone VP 1-6
Media: 3D Animation, Hand Drawing, Acrylic Plate
Size: 105×74.6x2cm
Year: 2020
This series prints show six wire-framed body images of “Eve Clone” in six angles excerpted from the video of “Making of Eve Clone I”. Also, the texts about the “Great Image” were taken from the “Book of Daniel” of Bible to show the identity and ultimate fate of “Eve Clone”.
The antithesis of images and texts in this series emphasizes the white prototype of “Eve Clone” body created in computer space. Besides the perfect body shape of “Eve Clone” in golden ratio, the number of the beast 666 is marked upon her forehead and right hand. Therefore, images of different parts of “Eve Clone”, such as head, chest, belly, legs, and feet are contrasted to the texts taken from the chapters written about “Great Image” in the Book of Daniel. The bold texts on the right which looks like headlines of a poster is contrasted to the bodily image on the left, clearly referring the identity and meaning of “Eve Clone”. The acrylic plate is applied as a media.
The hand drawing of numbers and lines are shown on the top of the acrylic plate, not only contrasting with the computer symbols, icons, numbers and graphic on the top and bottom of the prints, but also emphasizing the body ratio and software characteristics of “Eve Clone”.
