The name of this piece of work is As, which is a preposition and a connective word. It represents ‘similar to…’, ‘when…’ etc. It often appears when things or people are interrelated, and it serves as a relative condition of passing and connecting.

People dwell in a categorized system; their identities are forever changing. Meanwhile, people are categorized into all sorts of communications. Their identities are echoed in their logos attached, and the connective process in between is often forgotten like the unnecessary.

In an ear where statistics is the central belief, time is also measured. Watches control people’s daily activities like handcuffs, and people are consistently checking the current time, reminding themselves that time slips away like sand on the palm. Patience is a scarce commodity. People forget to taste the details, cannot distinguish the drinks in our hand, whether it being some black liquid or coffee that activate our energetic cells. In relations where people cannot see, they travel among effects and results without details and jumping between two points. The middle process is simplified, neglected, and practical experiences are changed into models, which is misbelieved by the others like shortcuts. Hence, the self disappears and becomes a friend of the others; this is like an X in algebra.

Contrary to the bulky, functional models, these pauses and focuses in the microcosm of algebra, one has to endlessly search for an unknown pronoun in his/her imagination, experiences, memories, and consciousness, unveiling some possible methods like imagining the evidence, so that a route for interconnections can be built.

There will be seven pieces of work related to the topic: Traversing II, Lightly Streaming, On and Off, Non-Stop, My Home is not Yours, and four installation artworks, Stairs, Floating, Mr. On and Off.

Stairs, 2006. Mixed media, Dimensions variable
This work duplicates the stairway in IT Park. The idea is to put one more stair between the original first floor to the second, and one less the second to the third, so that viewers will have a reestablishment of the space at IT Park. Viewers will experience a minor difference in the usual stairs they take, and their body will play a reminding role of notifying them that a seemingly knowing yet unfamiliar experience arises when they walk on the new piece of creation.

My Home is not Yours, 2006. Video installation, Dimensions variable
This work is an extension of making the switching device as the symbol of control. The right and left hands distinctively play the roles of turning the switch on and off. Through the light and bright images, focus oriented and dispersed design, exposure and dim light, viewers’ pupils will enlarge and shrink. In viewers’ unconsciousness, the distinguished clearness and opaqueness become blurred, and the viewers could no longer decide whether it is their eyes that are working, or it is the imagines that are playing. With the sounding of switching devices being turned off and on, plus the constant transitions of replacements, the one who holds the reins is no longer the core of the question, for everything shall come to its origin, with no end nor beginning.

Traversing II, 2006. Video installation, Dimensions variable
This work is adapted from people and cars that pass the pedestrians’ walk. From a grander angle, the camera lens look at those passer-bys who walk through the pedestrian’s walk. The camera lens focuses on the objects, creating a focused and defocused condition. Between the sphere of ambiguousness and transparency, the enlargement of exposure value and tiny light, sense of spaces is forever altering. The image is shown between the instance of knowing and distinguishing, and it lingers between the known and the unknown. The changes that involve timing and tempos, as well as the scattered imagines from modeling slow exposure simultaneously represent the sense of time, which suddenly loses its relative position, resulting the changing of lights and shadows.

The projected corner of reflection makes the spaces in the images overlap with those in the real. As they bounce and travel through one another, pupils are also enlarging or shrinking. On the ground, sugar has paved the pedestrian’s walk. The lines will be blurred after the exhibition starts, as viewers have different visiting routes, and their footsteps will unavoidably take the element everywhere they go, making the original design enlarged and blurred.

Lightly Streaming, 2006. Interactive video installation, Dimensions variable
This work is a simplified working space. On the table, there are several papers with the size of A4. By using mini-projector to project pedestrians’ image on the papers when they cross the streets. Via delayed image and speed adjustments, the flowing pedestrians are coming back and forth between two changing points like a river. However, when one observes closely, a sensor will initiate a lamp and a fan. Simultaneously, the light appears while the paper flipped and images disappeared. In the reality, the formatted A4 papers do not have anything on top of them. On the wall, there is a white clock with no specific number mark, but a needle that counts the seconds. Only this clock moves regularly without an end.

On and Off, Non-Stop, 2006. Video installation, Dimensions variable

This project will post wallpapers with the design of colorful switching devices on a six-meter wall. In addition, a liquid crystal screen will be installed on the wall, broadcasting an old switching device in a restroom.

Via the decorative background, the neglected, silent switching device at a dark corner will be signified, thus reflecting the art space at Yi-Tong Park, which has been established for eighteen years. In May, 2006, all the switching devices in the park were replaced, except for this one shown on the screen. It has experienced numerous painting and countless hands have touched it; here, it represents a witness of time and space alternation, memorizing all the passer-bys.

Mr. On and Off, 2006. Mixed media, Dimensions variable
Switching device is what people have usually controlled in their daily life. When people enter a new space, the first thing they search is the switching device in the new environment and turn the light on. At here, switching device is not a button that controls the elements, but something that has been transformed to a toy that looks at the world that people think they have controlled with a gesture of arms crisscrossed in front of his chest. Only when the viewers pick it up would the button at its head start to meaninglessly struggle, revealing that the device is actually a useless installment.

Flutter II 2006. Mixed media, 300cmX350cm
This is a work with a huge black curtain (3mX3.5m), which flutters regularly like waves. The bottom of the curtain is embroidered with laces. A dim yellow light can be seen through the curtain. Since the curtain is waving and the lights on and off, it seems someone is waving. The lights are swimming back and forth on the laces and the waves of the curtain haven’t stopped; there are even echoing sounds from the curtain. Viewers could not investigate but only speculate what is behind the curtain, where a secret region is situated—a secret that belongs to the memory of a person.

The entire exhibition is using Stairs as its opening chapter. From the sensibility of physical movements, the exhibition leads its viewers to My Home is not Yours and Traversing II, so that the viewers can mingle their visual experiences with the living. From here, the viewers are expected to search for his/her related experiences. Between the old and the new, a gap emerges, and the viewers will return to the sensitive consciousness, searching for memories and experiences in Lightly Streaming and Floating. Viewers study their experiences, repeat them, rebuild and reestablish new experiences that enable them to have new conversations. Lastly, in On and Off, Non-Stop and Mr. On and Off, the reality remerges, leading viewers to their self-reflection. Through viewers’ different life experiences, they will be able to construct their experiences of self-worth through the back and forth of debates and the ferment of their imagination.