The Made and the Maker
2020
Mixed-media installation | Dimensions variable.
1. pigment on paper, the Bible,
2. yarn, fabric,
3. paper, PVC, glue, light, performance (12'33'')
《人造／造人》是一個由三個部分組成的系列裝置，橫跨繪畫、軟雕塑與光影劇場三種媒材，圍繞「神」的形象展開——作為不可被完全經驗、不可說明、不可重複的極限狀態，神性是過度、是邊界的突破，是主體向未知與混亂的敞開。這並非對既有神話的描摹，而是對「造神」這一人類永恆衝動的主體性實踐與視覺化反思——讓神性在不斷解體、生成、流變、交纏中顯現。
系列首件為大幅手繪紙本，這些形體誕生於肉身底部、肛門、大腿之間的負空間、男女生殖器與生命誕生的地方。
「太陽和肛門皆為開口，分泌生命的流體；太陽放出熱能，肛門排出糞便——宇宙與肉身在這裡互為出口。」
作品將神性召喚於最無用、最放肆、最不被認可的區域。跨越恥辱與崇高，神性正是一個毫無用處、無法收編於秩序與功用的能量孔隙，不斷生成、溢出、破壞純潔與中心的極端場所。
「真正的瀆神，是將禁忌中的神聖之物，重新開放給人的
日常、遊戲與共用，使它失去神聖性而進入人的世界。」
在這層意義上，這種神性的能量不再受限於崇高與禁忌，而是成為每一個生命體在慾望、排泄與遊戲中自由流動的共享資源。
第二件作品以毛線、布料纏繞而成，垂掛於空間之中，形如腸道、觸鬚或神經網絡，指涉神性的肉體化與觸媒狀態。這些纏繞的身體既不完全屬於人，也未必屬於某種已知動物，而徹底帶入跨界的生成動態。
觀者在黑暗中穿梭於這些色彩纏結之間，被包裹、遮蔽、觸碰，經驗造神行動的物質和感官。
「生成不是複製，也不是模仿，而是在混沌、交纏和差異中持續不斷地發生。」
這是源於我在自然中的神性經驗：林間、溪澗、樹下，藤蔓彼此纏繞、攀爬、壓迫、斷裂、重生，混沌、充滿張力與風險的生成現場。生命在自我超越與自我消耗之間不停運轉，神聖與暴力如影隨形。
「每個天使都是可怖的。」
在展場中，觀者穿梭於纏結的神性自然中，時而感受壓迫，
時而感受護蔽——創造與毀滅、愉悅與驚懼、差異與聯結同時發生。神性成為生成本身——異質、複雜、無終極目標的運動。
「神說：要有光。就有了光。」
最後一件以光與紙雕構成光影劇場。光影每一次投射，都是神的現身與消散，形象永遠處於生成與消失的邊界。光線如呼吸般進出縫隙，創造一種不穩定、未竟的現場。
靈感來自某個日常時刻——微光從手縫間滲透進掌心的縫隙。這種光從裂縫透入的瞬間，從不是全然可見或絕對降臨，而總是在遮蔽、間斷、破碎的縫隙中現身。
作為被基督教傳統形塑、又不斷懷疑、質詢、分裂的個體，我更在意神如何顯現而非神是否存在——在每一道光線的分裂、每一次遮蔽的殘餘裡，神性被召喚、卻又立即遠離。
「神聖是我所看見的同時我也在消逝」
信仰變成一種具身的間隙經驗——既經歷失落與遮蔽，也在每一次無限地透現中參與世界的生成。
I. 太陽肛門
「太陽和肛門皆為開口，分泌生命的流體；太陽放出熱能，肛門排出糞便——宇宙與肉身在這裡互為出口。」
——巴塔耶
作品將神性召喚於最無用、最放肆、最不被認可的區域。跨越恥辱與崇高，神性正是一個毫無用處、無法收編於秩序與功用的能量孔隙，不斷生成、溢出、破壞純潔與中心的極端場所。
「真正的瀆神，是將禁忌中的神聖之物，重新開放給人的
日常、遊戲與共用，使它失去神聖性而進入人的世界。」
——阿岡本
在這層意義上，這種神性的能量不再受限於崇高與禁忌，而是成為每一個生命體在慾望、排泄與遊戲中自由流動的共享資源。
II. 螺旋陰莖
觀者在黑暗中穿梭於這些色彩纏結之間，被包裹、遮蔽、觸碰，經驗造神行動的物質和感官。
「生成不是複製，也不是模仿，而是在混沌、交纏和差異中持續不斷地發生。」
——德勒茲
這是源於我在自然中的神性經驗：林間、溪澗、樹下，藤蔓彼此纏繞、攀爬、壓迫、斷裂、重生，混沌、充滿張力與風險的生成現場。生命在自我超越與自我消耗之間不停運轉，神聖與暴力如影隨形。
「每個天使都是可怖的。」
——里爾克
在展場中，觀者穿梭於纏結的神性自然中，時而感受壓迫，
時而感受護蔽——創造與毀滅、愉悅與驚懼、差異與聯結同時發生。神性成為生成本身——異質、複雜、無終極目標的運動。
III. 月亮神經
創世記 1:3
最後一件以光與紙雕構成光影劇場。光影每一次投射，都是神的現身與消散，形象永遠處於生成與消失的邊界。光線如呼吸般進出縫隙，創造一種不穩定、未竟的現場。
靈感來自某個日常時刻——微光從手縫間滲透進掌心的縫隙。這種光從裂縫透入的瞬間，從不是全然可見或絕對降臨，而總是在遮蔽、間斷、破碎的縫隙中現身。
作為被基督教傳統形塑、又不斷懷疑、質詢、分裂的個體，我更在意神如何顯現而非神是否存在——在每一道光線的分裂、每一次遮蔽的殘餘裡，神性被召喚、卻又立即遠離。
「神聖是我所看見的同時我也在消逝」
——巴塔耶
信仰變成一種具身的間隙經驗——既經歷失落與遮蔽，也在每一次無限地透現中參與世界的生成。
The Made and the Maker is a series of installations composed of three parts, spanning painting, soft sculpture, and shadow theater. The project centers on the construction of the "divine"—not as something that can ever be fully experienced, described, or repeated, but as an extreme state, a force of excess, a breakthrough of boundaries, and an opening of the subject to the unknown and chaos. Rather than depicting existing mythologies, the work is a subjective practice and visual reflection on the perennial human impulse to "make gods": divinity appears here in continual disintegration, becoming, flux, and entanglement.
The first work consists of large-scale hand-painted paper scrolls. The forms are born from the underside of the body—negative spaces between the thighs and around the anus, the genitals of both sexes, the very sites of birth and life.
The second work is made of intertwined yarn and fabric strips, hanging in space, evoking intestines, tentacles, or neural networks—suggesting the materialization and catalytic state of the divine. These entangled "bodies" belong neither fully to humans nor to any known animals, embodying an entirely "transgressive" dynamic of becoming.
The viewer traverses this tangled mass in darkness, enveloped, concealed, and touched—experiencing both the material and sensory aspects of god-making.
The final work constructs a shadow theater from light and paper cutouts. Each projection of light and shadow marks both the apparition and disappearance of the divine—forms are forever at the edge of becoming and vanishing. The light breathes through cracks and seams, generating a perpetually unstable, unfinished scene.
This piece draws from an everyday experience: the moment when faint light seeps through the crevices between one's fingers. This “light entering through the gap” is never wholly visible, never fully arrived; it always appears in intervals, occlusion, and fracture.
As an individual both shaped by the Christian tradition and constantly questioning, doubting, and dividing it, I am more concerned with “how the divine appears” than “whether the divine exists.” In every diffraction of light, every residue of occlusion, divinity is summoned—only to immediately recede.
I. Solar Anus
The first work consists of large-scale hand-painted paper scrolls. The forms are born from the underside of the body—negative spaces between the thighs and around the anus, the genitals of both sexes, the very sites of birth and life.
"The sun and the anus are both orifices, secreting the fluids of life; the sun emits heat, the anus expels excrement—cosmos and flesh are each other’s openings."
— Georges Bataille
This work calls forth the divine from the most useless, unruly, and unrecognized zones, traversing both shame and the sublime. The divine is precisely this fissure of energy—useless, unassimilable to order or function, always generating, overflowing, and rupturing all purity and all centers.
"True profanation consists in returning sacred things to common use, to play, to sharing—so that they lose their sacredness and enter the human world."
— Giorgio Agamben
In this sense, divine energy is no longer confined by the sublime or the taboo, but becomes a shared resource, flowing freely among all living bodies in desire, excretion, and play.
II. Spiral Phallus
The second work is made of intertwined yarn and fabric strips, hanging in space, evoking intestines, tentacles, or neural networks—suggesting the materialization and catalytic state of the divine. These entangled "bodies" belong neither fully to humans nor to any known animals, embodying an entirely "transgressive" dynamic of becoming.
The viewer traverses this tangled mass in darkness, enveloped, concealed, and touched—experiencing both the material and sensory aspects of god-making.
"Becoming is neither imitation nor identification; it is the process that occurs in chaos, entanglement, and difference."
— Gilles Deleuze
This work draws from my experience of the divine in nature: in forests, by streams, beneath trees, where vines entwine, climb, squeeze, break, and regenerate—chaotic, charged, and risky scenes of becoming. Life is ceaselessly turning between self-transcendence and self-expenditure, the sacred and the violent always intertwined.
"Every angel is terrifying."
— Rainer Maria Rilke
In the exhibition space, viewers navigate the tangled "divine nature," feeling at times oppressed, at times protected—creation and destruction, pleasure and terror, difference and connection all occur simultaneously. Here, the divine is becoming itself: a heterogeneous, complex movement with no ultimate goal.
III. Lunar Nerve
"And God said, 'Let there be light.' And there was light."
— Genesis 1:3
The final work constructs a shadow theater from light and paper cutouts. Each projection of light and shadow marks both the apparition and disappearance of the divine—forms are forever at the edge of becoming and vanishing. The light breathes through cracks and seams, generating a perpetually unstable, unfinished scene.
This piece draws from an everyday experience: the moment when faint light seeps through the crevices between one's fingers. This “light entering through the gap” is never wholly visible, never fully arrived; it always appears in intervals, occlusion, and fracture.
As an individual both shaped by the Christian tradition and constantly questioning, doubting, and dividing it, I am more concerned with “how the divine appears” than “whether the divine exists.” In every diffraction of light, every residue of occlusion, divinity is summoned—only to immediately recede.
"The sacred is what I see at the very moment I am disappearing."
— Georges Bataille
Faith thus becomes an embodied experience of the interval: enduring loss and occlusion, yet participating in the world’s endless coming-into-being through each fleeting manifestation.
solar anus (installation view) 1/23
solar anus (installation view) 2/23
solar anus (installation view) 3/23
solar anus (installation view) 4/23
solar anus (installation view) 5/23
solar anus (installation view) 6/23
solar anus (installation view) 7/23
solar anus (installation view) 8/23
spiral phallus (installation view) 9/23
spiral phallus (installation view) 10/23
spiral phallus (installation view) 11/23
spiral phallus (installation view) 12/23
spiral phallus (installation view) 13/23
spiral phallus (installation view) 14/23
spiral phallus (installation view) 15/23
spiral phallus (installation view) 16/23
spiral phallus (installation view) 17/23
lunar nerve (still) 18/23
lunar nerve (still) 19/23
lunar nerve (still) 20/23
lunar nerve (still) 21/23
lunar nerve (still) 22/23
lunar nerve (still) 23/23