Medium: 3D animation, digital music, historical illustrations, AI software, dancer and motion capture system
Year: 2026
Duration: 9 minutes 30 seconds

Eve Clone Babel Tower II is a sequel to Eve Clone Babel Tower I, continuing from the final scene of the previous work in which the blue grid–structured figure of “Eve Clone” stands atop the Babel Tower with arms outstretched, echoing Leonardo da Vinci’s Vitruvian Man. Beneath her lies a city likewise constructed of blue grids, while the background overlays a blue-toned historical illustration of the Tower of Babel, symbolizing the overlapping and intermingling of ancient, contemporary, and digital cities.

“Eve Clone” begins in a state of stillness before gradually activating her body. She then drifts into the lower alleyways of the city, only to instantaneously jump back to the summit of the Babel Tower. Against a pitch-black background, blue grids and intersecting lines form a dense spatial network, suggesting her ability to traverse historical timelines freely—from antiquity to the present, and onward into the metaverse of the digital age.

Beneath the Babel Tower is a city composed entirely of blue grids. The artist deliberately extracted precise, real-scale 3D city models from Google Maps, incorporating global landmarks that symbolize the “modern Babel Tower,” including the Empire State Building in New York, Taipei 101, the Chiang Kai-shek Memorial Hall in Greater Taipei, the Eiffel Tower in Paris, the United Nations Headquarters, the European Union buildings, Cologne Cathedral, the British Library, and Moscow’s Red Square. These landmarks function as enduring symbols of political and cultural power.

“Eve Clone” spins rapidly above the city before returning once again to the top of the Babel Tower. The background reverts to the ancient Tower of Babel, now interwoven with strange mountainous landscapes and fragments of text. Combined with AI-generated Babel Tower imagery, the scene produces a surreal visual environment.

Subsequently, “Eve Clone” begins a duet with her second avatar. The original body then raises her hand, pointing toward an increasing number of clones, as if issuing commands and orchestrating their movements. The background music intensifies and layers in response to her bodily gestures, incorporating forceful sound effects that amplify a sense of authority and domination—echoing the woman described in the Book of Revelation who rules over the world:
“The woman you saw is the great city that rules over the kings of the earth.” (Revelation 17:18)

Thereafter, “Eve Clone” summons even more of her avatars and leads them into the lower strata of the city in search of prey to devour. Their movements are frantic and tense, while the soundscape accelerates and grows increasingly intense. Ultimately, the original “Eve Clone” ascends from within the Babel Tower to its summit. The circular image of the tower gradually transforms into her pupil, and in synchrony with the rhythmic progression of the music, an immense face of “Eve Clone” emerges—constructed of golden and blue grids. The mark of the Beast, “666,” appears on her forehead, and her cold, expressionless grid-like eyes embody an image of cruelty, authoritarian power, and artificiality. With the pulsating rhythm of the music, the figure gradually fades away.

The work as a whole reenacts humanity’s enduring desire to challenge divine authority, tracing a trajectory from the Tower of Babel in Genesis to today’s construction of ever-expanding “Babylons” and “Babel Towers” through politics, economics, culture, and technology.