The Documentation Space resembles an artist’s studio, where creative documents, sketches, manuscripts, and other materials are freely layered and displayed across the walls and in display cases, reflecting each step in the artist’s thinking process. Seven documents printed on aluminum panels are deliberately arranged on the walls to reveal the five major evolutionary series of Eve Clone: the Human–Beast Hybrid Series, Great Image Series, Making of Eve Clone Series, Babel Series, and Wannsee Conference Series. The materials include creative sketches, manuscripts, reference images, literature, historical paintings, and exhibition photographs from each series. The artist herself then added handwritten annotations, lines, symbols, and quotations from biblical passages.
The space also presents books, journal articles, exhibition catalogues, and other publications in which her works have been documented and studied. Screens at the entrances play documentary footage of important exhibitions from the past.
Here, viewers and researchers can closely examine and study how Lin Pey-Chwen shaped the conceptual foundations of Eve Clone at each stage and trace the project’s evolutionary process: from a hybrid human–animal form to the metallic figure of the “Great Image” described in the biblical Book of Daniel; from there to the ideal-proportioned figure combined with Leonardo da Vinci’s Vitruvian Man; then to the seductive figure of the “Whore of Babylon” dancing atop the Tower of Babel; and finally to a series of AI-generated portraits in which Eve Clone is created in conjunction with real human subjects.
Together, these materials establish a chronological timeline for each series and reveal the relationships and evolution among them. By revisiting and presenting more than two decades of the artist’s creative thinking and artistic practice through the Documentation Space, the exhibition provides an important body of documentation and a critical set of annotations to Lin Pey-Chwen’s artistic practice.