In 1994, Jun-Jieh Wang began his first major series of work. It consists of large-scale multi-media installations of fictitious products to explore the essence of desire and consumption in the industrial society of the 90s. Using highly realistic advertising tools, such as leaflets, billboards, TV commercials, the Internet, product samples and showroom girls, they achieve the effect of mixing up the information of consumption. Apart from playfully interrupting the food chain of the world of consumption, each project also attempted to widen its discussion to include other themes. "Little Mutton Dumplings for the Thirteenth Day" (1994) reflects on class and power and the replication of civilization, while "Neon Urlaub" (1997) explores fantasy and reality through the tours of a fictitious travel agency, and "HB-1750" (1998) uses a rejuvenating drug to examine the relationship between desire and longevity. The work "For Our Consumer Loving" created for the First Fukuoka Asian Art Triennale, the opening exhibition of the Fukuoka Asian Art Museum in 1999, summarized the themes of consumption and simulation that preoccupied him in the 90s, that is, how people measure the gap between fantasy and reality and the meaning of life in an age of commodification and desire.

In 2000, Jun-Jieh Wang began another large series entitled "Microbiology Association". Unlike the earlier discussion of the system of consumption using "commodity" as its starting point, "Microbiology Association" is about a research institute that studies the progress of human civilization. It is a hypothetical organization founded in response to the environment of the future. Several works that make up this series have been presented since 2000, including "Clothing Project" (2000), "Condition Project I" (2000), "Hotel Project (Bibless)" (2001), "Golden Fleece Project" (2002) and "Condition Project II" (2005). The works of this series usually take

the form of large-scale spatial installations, with three-dimensional objects, texts, the Internet, graphic or moving images forming sub-projects and constituting the vocabulary of the works. The installation venue looks like a museum displaying different pieces of evidence and objects. Apart from exploring the interrelations of technology, the environment and people's living conditions, the concrete and abstract metaphors also attempt to express the fears or desires at the bottom of the subconscious or unconscious of contemporary man. With the environment undergoing constant changes, a new kind of relationship evolves between the body and the spirit of man. A mixture of reality, fantasy, memories, fears and emptiness becomes the components of people's lives, that is, the "conditions" made up of numerous small fragments. This abstract and inexpressible theme is dealt with in the recent "Condition Project".

Jun-Jieh Wang's work has gradually moved away from the early exaggerated form and content to a preoccupation with the inner being of people's existence. The metaphorical images contained in a highly precise 35 mm film run repeatedly create a dizzying and hallucinatory feeling between surreal and real. According to Swiss psychiatrist Carl Gustav Jung (1875-1961), human beings created civilization with their "ego". But civilization keeps covering up the "self", the most important archetype, so that we can only see "civilization" but not our "selves". People have lost their ability to observe the minute behaviour of their selves. Learning about the "conditions" that surround them is an important step to exploiting the potential of the "self" and to purifying the environment.