»Making of Eve Clone Portrait IAR/1-6« 
Light Box
Light Box
© https://linpeychwen.com/making-of-eve-clone-portrait-iar-1-6/; Media: Digital Print, Hand Drawing, 3D Animation, Augmented Reality Interactive Installation, tablet computer
Size: 84 x 65cm x 6 pcs
Year: 2019
Exhibitions
2020 “Body Manifestation-Pey-Chwen Lin Solo Exhibition “, Da Xiang Art Space, Taichung, Taiw
Keywords
Information
Lin Pey-Chwen >
»Making of Eve Clone Portrait IAR/1-6«, 2019 - 2019
Co-Workers & Funding:
Sheng-Chieh Wang / Lin Pey-Chwen Digital Art Labhttps://linpeychwen.com/making-of-eve-clone-portrait-iar-1-6/
Technology
Display
Media: Digital Print, Hand Drawing, 3D Animation, Augmented Reality Interactive Installation, tablet computerSize: 84 x 65cm x 6 pcs
Descriptions & Essays
pey-Chwen Lin 23-09-2021
“Making of Eve Clone Portrait” received the First Prize in ART WOMEN International Exhibition held by PPLG in Italy
?FELLOWSHIP PRIZE 2020 – Platinium Certificate Award ?Best concept on the trilogy of the word “Culture-Territory-Identity”)
https://primopianospecialprojects.com/art-woman-2020/prizes-award/
The six two-dimensional, digital print works Making of Eve Clone Portraits IAR, are extensions of Portrait of Eve Clone and Making of Eve Clone II. They convey that the facial proportions and poses of Eve Clone are similar to Leonardo da Vinci’s portrayal of a woman, which perfectly follows the golden ratio. I used the augmented reality (AR) technique to transform Eve Clone from static to dynamic images, as if Eve Clone entered from a plane to the real space. The viewer can use a tablet computer to interact with Eve Clone to the left and to the right. They can discover that the wireframe of Eve Clone moves, emerging from the frame and wandering between the left and right pictures. It is as if Eve Clone is entering from the digital era on the right side of the black background, moving to the era of da Vinci’s draft on the left side, and then returning to the right side again. Eve Clone is like a soul existing in the three-dimensional space, continually being juxtaposed and integrated with the main body of the original image. The works intentionally retain the wireframes of the bone structure of Eve Clone, a computer icon, and a camera icon. Symbols such as 144 > 666 and 721 > 666 are painted in golden lines; Lin Pey-Chwen uses these numbers from the Bible to indicate that Eve Clone is by nature a product of technology.
pey-Chwen Lin: Making of Eve Clone Portrait IAR/1-6, 23-09-2021, in: Archive of Digital Art “Making of Eve Clone Portrait” received the First Prize in ART WOMEN International Exhibition held by PPLG in Italy
?FELLOWSHIP PRIZE 2020 – Platinium Certificate Award ?Best concept on the trilogy of the word “Culture-Territory-Identity”)
https://primopianospecialprojects.com/art-woman-2020/prizes-award/
The six two-dimensional, digital print works Making of Eve Clone Portraits IAR, are extensions of Portrait of Eve Clone and Making of Eve Clone II. They convey that the facial proportions and poses of Eve Clone are similar to Leonardo da Vinci’s portrayal of a woman, which perfectly follows the golden ratio. I used the augmented reality (AR) technique to transform Eve Clone from static to dynamic images, as if Eve Clone entered from a plane to the real space. The viewer can use a tablet computer to interact with Eve Clone to the left and to the right. They can discover that the wireframe of Eve Clone moves, emerging from the frame and wandering between the left and right pictures. It is as if Eve Clone is entering from the digital era on the right side of the black background, moving to the era of da Vinci’s draft on the left side, and then returning to the right side again. Eve Clone is like a soul existing in the three-dimensional space, continually being juxtaposed and integrated with the main body of the original image. The works intentionally retain the wireframes of the bone structure of Eve Clone, a computer icon, and a camera icon. Symbols such as 144 > 666 and 721 > 666 are painted in golden lines; Lin Pey-Chwen uses these numbers from the Bible to indicate that Eve Clone is by nature a product of technology.
Literature
Dr. Turner, Ming. »Visualizing post-human and cybersexuality: Lin Pey-Chwen and the Eve Clone Series.« East Asian Journal of Popular Culture 2, no. 2 (2016): 227-245.
Fang-Ho, Cheng. »Speaking Subject — Lin Pey- Chwen’s Eve Clone.« Artist Magazine (2014): 404-407.
Kuang-ying Kuo, Gwen. »From Pupa to Eve Clone: Lin Pey-Chwen Empowering Feminity.« Taiwan Digital Art and Information Center (2014).
Tseng, Jane. »The Birth of Eve Clone - Technological Satire of a Genetic Reproduction Laboratory.« Art Appreciation (2011): 61-63.
Chih-Yung, Chiu. »God’s Will or Human Desire: The Irony and Criticism in Lin Pey-Chwen’s Eve Clone series.« https://www.academia.edu/37253134/God_s_Will_or_Human_Desire_The_Irony_and_Criticism_in_Lin_Pey-Chwen_s_Eve_Clone_series.docx.
Exhibitions & Events
2020
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2019
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2019
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