Making of Eve Clone Portrait IAR/1-6

“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”)

Media: Digital Print, Hand Drawing, 3D Animation, Augmented Reality Interactive Installation, tablet computer
Size: 84 x 65cm x 6 pcs
Year: 2019

2022 “ID-ENTITY R-EVOLUTION: BODIES-NATURANS, TRANSITS AND CYBERSPACE”, Palmieri Foundation, Vico Dei Sotterranei, Lecce, Italy
2021 “Digi x Creation”, B.B.Art, Tainan, Taiwan
2020 “ART WOMEN International Exhibition”, PPLG, Italy
2020 “Body Manifestation-Pey-Chwen Lin Solo Exhibition “, Da Xiang Art Space, Taichung, Taiwan
2019 “Eve Clone Augmented Reality”, QCC Art Gallery, CUNY, New York, USA
2019 “Urban Tribes” International Exhibition, New York Foundation for the Arts, New York, USA
2019 “Making of Eve Clone III”, The Fine Arts Museum of National Defense, Taipei, Taiwan

The six two-dimensional, digital print works Making of Eve Clone Portraits IAR, are extensions of Portrait of Eve Clone and Making of Eve Clone II. They convey that the facial proportions and poses of Eve Clone are similar to Leonardo da Vinci’s portrayal of a woman, which perfectly follows the golden ratio.  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. The works intentionally retain the wireframes of the bone structure of Eve Clone, a computer icon, and a camera icon. Symbols such as 144 > 666 and 721 > 666 are painted in golden lines; Lin Pey-Chwen uses these numbers from the Bible to indicate that Eve Clone is by nature a product of technology.