Portrait of Eve Clone

Media: 3D Animation, Moving Hologram, Acrylic, Aluminum Frame
Size: 57cm x 45cm x 3cm each piece (6 pieces series)
Year: 2010 ~

In “Portrait of Eve Clone”, Pey-Chwen Lin uses 3D animated holograms in an unplugged style to interact with the viewers. Eve Clone is alive under the spotlight, showing her charming gaze and posture, while without any lighting, she becomes invisible. The 3D animation depicts and presents the different colors of her face, the skin textures, the expression in her eyes and her postures. Printed on Eve Clone’s forehead in different languages is 666, the Number of the Beast, as introduced in the Bible in the Book of Revelation (13:16-18). 666, as the beast imprints that control mankind is a symbol of the harmful technological inventions that have seduced and controlled humans. With this artwork, the artist reflects upon the relationship between humans and technology — we have used technology to challenge the origin of God’s creation, but eventually technology will produce negative impacts to mankind and we will be forced to bear the consequences.


2020 “Revelation of Eve Clone”: Lin Pey-Chwen +Digital Art Lab, Tainan Art Museum, Tainan, Taiwan
2020 “Body Manifestation : Pey-Chwen Lin Solo Exhibition”, Da Xiang Art Space, Taichung, Taiwan
2019“Making of Eve Clone II “, B.B.Art, Tainan, Taiwan
2017“Dramaturgy Body Rewritten Contemporary Art”, Lee Gallery, Taipei, Taiwan
2016 “Like To Loud a Solitude”, MoNTUE Museum, Taipei, Taiwan
2016 “404 International Festival of Art and Technology”, C++ Gallery, Bogota, Colombia
2016 “Women Social Subjectivity –Taiwan Women Art Exhibition”, Cultural Affairs Bureau, Chiayi, Taiwan
2016 “Digital Attraction International Contemporary Art Exhibition”, Fu-Chung 15, New Taipei, Taiwan
2015 “The Apocalyptic Sensibility: The New Media Art from Taiwan”, Taipei Fine Art Museum, Taipei, Taiwan
2015 “The MOMENT: The Taiwanese Art Projects”, Tenri Cultural Institute, New York City, USA
2015 “404 International Festival of Art and Technology”, Rosario, Argentina
2015 “Dancing with Era –40 Years of Taiwan Contemporary Art”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2015 “Revelation ‧Notification –Solo Exhibition by Lin Pey-Chwen”, National Tsing Hua University Arts Center, Hsinchu, Taiwan
2014 “Cultural Capsules”, JCAL, New York, USA
2014 “404 International Festival of Art and Technology”, Platforma, Moscow, Russia 2014 “Progressive Proof: SF State exhibit features women printmakers from Pacific
Rim”, San Francisco State University Art Museum, San Francisco, USA
2014 “Raising the Temperature “International Art Exhibition, Queens Museum of Art, New York, USA 
2014 “In the Name of Asia female Artist”, Kaohsiung Museum of Fine Art, Kaohsiung, Taiwan
2014 “Mirage & Aural Beauty”, National Taiwan Science Education Center, Taipei, Taiwan
2013 “The Tetramatyka Audio Visual Art Festival”, Lviv National Art Museum, Ukraine
2013 “WRO15th Media Art Biennale”, Wroclaw, Poland 
2012 “Body and Interface”, Taipei Digital Art Center, Taipei, Taiwan
2012 “404 International Festival of Art and Technology”, Rosario, Argentina
2012 “Taiwan Biennial –YES, Taiwan”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2012 “Transjourney –2012 Future Media Festival”, Kuandu Museum of Fine Art, Taiwan
2012 “Eve Clone Series III”, Art Stage Singapore, Singapore
2011 “Eve Clone Series II”, Galerie Grand Siecle, Taipei, Taiwan
2011 “Eve Clone Series”, Museum of Contemporary Art, Taipei, Taiwan
2010 “Body, Gender, Technology”, Taipei Digital Art Center, Taipei, Taiwan 2010 “0&1: Digital Space and Gender Myths”, 501 Contemporary Art Center, Chungking, China

I named it Eve Clone as God created Eve, and humans want to play God and created a cloned Eve. I integrate the elements of the human chrysalis and human beast to shape the double identities of Eve Clone, who was both charming and evil. I quoted the Whore of Babylon recorded in the Bible “With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication” (Revelation 17:2) as well as placing the Number of the Beast, 666 in different languages, on Eve Clone’s forehead and right hand as a symbol of evil (“And he causeth all, both small and great, rich and poor, free and bond, to receive a mark in their right hand, or in their foreheads” (Revelation 13:16)) to show that technological culture is like the Whore of Babylon and the Number of the Beast, which seduce and control humans.

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.