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.
Media: Digital Image and Sound Installation, Computer, Media Player, Projector, Stereo
In the video “Making of Eve Clone I”, Pey-Chwen Lin appropriates the drawing of Vitruvian Man by Leonardo Da Vinci, re-presenting how technological patriarchy attempts to create the body of Eve Clone with the ideal human physique. By referring to Da Vinci’s aspiration to associate man, through the circle and the square, as the center of the universe, the artist reveals that Eve Clone is the product of the human desire to challenge God’s Creation. In the video, Lin also traces back the making of Eve Clone by precisely overlaying her original drawings and the Vitruvian Man, combining the two images into one. As the body image rotates through 360 degrees, it transforms into a body made of wireframes, and then gradually into bodies with a human-like skin, a metallic skin with animal and chrysalis traces, a holograph-like skin with green illumination, and finally, a body depicting the Great Image from The Book of Daniel, with a golden head, a silver body, a bronze belly, iron legs, and feet that are partly made of iron and partly of clay.
Due to 3D visual illusion, Eve Clone seems to be emerging from Da Vinci’s manuscript into a three-dimensional body. The combination with sound effects creates a sense of mystery and strangeness. In the middle of the video, the artist specifically presents how Eve Clone is examined in the 3D computer space, such as enlarging, shrinking, and rotating through different angles. The computer interface, camera symbols, icons, and timelines are also intentionally preserved to highlight the approach and concept of translating the 3D digitalization process into the making of Eve Clone. In addition, the mirrored writing of Da Vinci’s work has been intricately replaced by Bible verses, which helps to define the destiny and identity of Eve Clone. The artist has offered multi-faceted comparisons and juxtapositions of the Vitruvian Man and Eve Clone: the visual contrast between the graphic manuscripts of the Vitruvian Man and the 3D digital animation of Eve Clone; the overlapping male and female bodies of ideal proportions; the reference of symbols and Bible scriptures. Furthermore, it is possible to compare how de Vinci and Lin, as male and female artists, respectively, created the Vitruvian Man and Eve Clone in a different time and space, with different media, and through their own creative desires.
2020 “Revelation of Eve Clone”: Lin Pey-Chwen +Digital Art Lab, Tainan Art Museum, Tainan, Taiwan
2019 “Florence Biennale 2019”, Florence, Italy
2019 “Eve Clone Augmented Reality”, QCC Art Gallery, CUNY, New York, USA
2019 “Making of Eve Clone III”, The Fine Arts Museum of National Defense, Taipei, Taiwan
2019 “GZ-XPO London –Art and Awareness Exhibition”, London, England
2019 “Being Here as ME: New Media Art Exhibition of Women Artists from Taiwan”, American University Museum, Washington DC, USA
2018 “GZ-New York”, New York, USA
2018 “GZ-BASEL” Parallel Exhibition of Art Basel, Basel, Swiss
2017 ”Fibering –Eco As A Verb” International Video Installation Exhibition , Yo-Chang Art Museum, Taipei
2017 ” GZ-Venice” Parallel Exhibition of Venice Biennale, Venice, Italy
2017 “Making of Eve Clone”, Galerie Grand Siècle, Taipei, Taiwan
2017 ”Taiwan Videa” 2017 Selection-The Taiwanese Avant-garde Video Screening Project, Republic of Macedonia: Museum of Contemporary Art, Skopje/Croatia: Galerija AŽ AtelieriŽitnjak, Zagreb/ Slovenia: SCCA-Ljubliana Center for Contemporary Arts /Germany: art space “Rosalux” , Berlin/WRO Art Center, Poland
2016 “ Like To Loud a Solitude”, MoNTUE Museum, Taipei, Taiwan
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.