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11 min , HD Video, Color, Stereo, 2009 |
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Anchored by an excerpt from the 6th century BC text, the Daodejing (Tao Te Ching), Dogs of Straw is both a portrayal of Taiwan's 2008 presidential election and a meditation on democracy, manipulation, and nationalism. In Taiwan’s fledgling democracy, it is only during a presidential election when the "people exists" as a formless abstract multitude removed from concrete social structures. 〈芻狗〉 |
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| This idea was inspired by the huge impact of Western culture on Asian society.
Based on the Western cultural habit of "knocking on wood," instead of using my hand to knock on wood for good luck, I used my head. 〈KNOCK ON WOOD〉 這件作品的主要是傳達西方文化對個人或東方文化的衝擊與影響。利用西方人貫有的手勢習慣「敲木頭」為創作基調 － 當說出自認很幸運的事時，隨即敲木頭以便驅走躲在木頭裡的邪靈，以免調皮的邪靈聽到後準備搗蛋。 在作品中，依照敲木的基本原則，我描述七年在國外的生活是如何幸運獲得幫助，並在每一段落以頭部撞擊木製桌子。以頭撞擊的目的在於西方文化的影響猶如「文化灌頂」般地在日常生活中無所不在，之小在於個人在西方社會生活的取經經驗與觀念吸收，之大在於其跨越大陸與海洋的阻隔，影響東方社會的力道。 藉由「敲木頭」的文化細節，將之引申為西方的文化撞擊，是這件作品的主要枝幹。 |
7 min 42 sec, HD Video, Color, Stereo, 2008 |
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This video shows one example of how Asian parents devote themselves to their grown children. Here a mother works tirelessly for rich clients so she can send her daughter to study in the USA. The montage illustrates the detailed procedure of dressmaking, and the phone conversation covers credit card expenses, converted from US dollars to Taiwanese yuan. 〈財‧縫〉 一位台灣母親日夜辛勞地為貴婦人裁製衣服賺錢，以支付女兒在美就學的昂貴學費。全片以一通討論信用卡開支的母女越洋電話為對白，影像則呈現詳細的縫紉工作過程，企圖表達傳統亞洲父母為了孩子無怨無悔的奉獻。 |
5 min., HD Video, B&W, Stereo, 2007 |
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Two memories of alcohol abuse -- reconstructed from found sound tracks, and put into a metaphorical image montage. Two women from different generations talk about their life struggles and how they became alcoholics. 〈酒恙〉 「喝酒讓我什麼都不在乎，我不在乎你喜不喜歡我，我從中獲得我想要的自由」「我不吃不喝，我恨自己，我不想再活下去了」兩段交錯出聲的錄音帶，搭配蒙太奇影像，呈現兩名不同世代女子的酗酒人生。 |
3.5 min., HD Video, B&W/Color, Stereo, No dialogue, 2007 |
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Waking Terror uses the sufferer’s point of view to express the terrifying experience of Sleep Paralysis. 〈鬼壓床〉 鬼壓床是以實際視覺的經驗以第一人稱的角度所作的短片。傳統的說法是鬼壓床，以科學的角度稱為睡眠癱瘓症。它是介於「夢境」與「清醒」之間，在視覺、聽覺、觸覺上的混淆感官經驗，基本上當事人的當下感受的狀態都是極其害怕驚恐的，這也是這支短片所建構的氛圍基礎。 |
4 min., HD Video, Color, Stereo, No dialogue, 2006 |
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This video work combines both performance and video art. The artist portrays a state of stress -- the stress from self-pressure and the fear of turning 30 years old. Using a unigue architectural structure and video techonology, the artist imagines three decades of herself. 〈三十滯〉 結合行為藝術與錄像藝術的方式，藝術家自述面對進入三十歲關卡的緊張與不安。利用三層旋轉樓梯的特殊建築設計與剪輯技巧，藝術家試者與三個自己對話。 |
 Photo by Kathleen Quillian |
5 min., Video, Color, Stereo, No dialogue, 2006
(with James
T. Hong) |
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A symbolic history of Kapital -- a symbolic history of the West. Inspired by Kasimir Malevich's minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod's, etc. When once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil. 〈資本主義萬萬歲〉 西方資本主義歷史的符號象徵。 科技的發展過程中，科技應是資本累積與戰爭的服侍者，但在石油世紀與戰爭的當下，科技卻代表了資本主義。 此片靈感來自於俄國藝術家馬勒維奇提出的「絕對主義」(Suprematism)與當今的石油戰爭。作品中的影像符號適於任何畫質解析度的螢幕，大至戲院小至手機或iPod螢幕。 |
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10 minutes, color, stereo, MiniDV, 2004 |
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| A history in 3 parts: 1. Evolution then progress. 2. Progress then civilization. 2. Civilization then exploitation and damage. History making is also garbage making. |
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12 min. (English subtitled), color, stereo, MiniDV, 2003 |
  A documentary for everyone who leaves home. Separated by the Pacific Ocean, a mother in Taiwan and her daughter in San Francisco have a normal phone conversation as images of San Francisco fill the screen. The images are shot from a cold, alienated perspective, and betray the videomaker’s longing and homesickness.
The 34 numbers in this video’s title constitute the tedious procedure the daughter follows when calling Taiwan. |
3 min., color, stereo, MiniDV, 2003 |
 In this piece I give new voice to a number of banal and hackneyed video reviews. The idea is to show how these reviews and blurbs are designed purely as commercials: how they seem to say something, but ultimately say nothing. Isolated, each review has the power to influence unsuspecting consumers, but all together, the meaninglessness is obvious. Moreover, all the reviews are authentic, and every single one is a lie. |
1 min, color, stereo, MiniDV, 2002 |
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| Untitled#3 and Jiu-Jiu Traffic These two short pieces are phenomenological experiments. Certain everyday objects or scenes are infused with new meaning and emotion. These videos literally “shed a new light” on small parts of the world which we’ve probably already seen. | |
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4 min, color, stereo, MiniDV, 2002 |
 I insert the dental flosses into the gaps between my teeth before eating, so that I don’t have to brush my teeth. |
2 min, color, stereo, MiniDV, 2002 |
 When one is underwater, one thinks only about staying alive. Escaping for a while is escaping from the material world, escaping from the prison of language, from boring mundane tasks, from personal doubts, and from money. |
4 min, color, stereo, MiniDV, 2001 |
The American Heritage Dictionary of the English Language: Fourth Edition. 2000. Penis Envy
NOUN: The supposed wish of a girl or woman to have a penis, postulated by Sigmund Freud as a cause of feelings of inferiority and psychic conflict. 新世紀經典美語大辭典。第四版。2000年。 陽具羨慕 名詞：女孩或女人假設性地渴望自己擁有陽具，此為造成自卑情緒以及精神衝突的主因。由佛洛依德提出。 |
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DOGS OF STRAW
2 min, color, stereo, MiniDV, 2002
