Works

In The Trial, the work features an image of OpenAI founder Sam Altman’s eye as the main subject. Under the apocalyptic glow of flames, the eye occasionally sheds a tear. The installation takes the shape of a cross, suspended between two supporting columns and fixed with chains, echoing the crucifixion of Jesus. This piece highlights…

Manifesto Steganography appropriates Benjamin Franklin’s 1754 classic political cartoon Join, or Die. The original cartoon depicted a snake cut into eight segments, each representing a colony, symbolizing the need for unity among the colonies to avoid destruction. In this work, Ding Shiwei transforms the concept of the snake into smoke ducts and uses sixteen 5-inch…

In The Ventriloquism of the Flag, the artist uses thermosensitive fabric to create a black flag lying on the gallery floor. Combined with a heat source device under the floor, the flag slowly reveals the fluorescent green text of the classic slogan Join, or Die from Benjamin Franklin’s 1754 political cartoon. Ding Shiwei explores the…

In Echoes of Specters, Ding Shiwei creates a circular interactive video installation featuring 30 AI-generated simulated arm images produced by ChatGPT-4. When viewers approach the screens, ultrasonic sensors trigger the static arm images to transform into generative AI animations, making the arms flutter like fabric or flags. The installation creates a ghostly plaza where the…

In Anatomy of the Monument, a silver aluminum profile serves as a monument, with one part standing in the center of the gallery and the other lying on the floor. A screen embedded in the structure displays images from The Visible Human project, which viewers can only partially see through a polarized film in a…

Based on the political cartoon Join, or Die published by Benjamin Franklin in 1754, the artist presents eight segments of a severed cursor-path-body, each pointing to a modern dilemma of being colonized in the face of screen vortex and techno-politics. At the two ends of the installation are a translucent screen pierced by a sliding,…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

The Borderman series reuses screens from VR headsets and incorporates eye footage either filmed by the artist or produced in 3D animation. The work explores the profound intervention of digital media in individual lived experience, offering a prophetic vision of a Frankensteinian future species. The eyes embedded within the screens command the viewer’s attention and…

A spinning waiting cursor The Spinning Wheel of Death intrudes into the real space and floats between the broken concrete columns of the gallery. It appears in ruins destructively and waits in a “breakdown” way. At the moment, the seesaw battle between reality and virtuality continues quietly in its silent spinning.

Five OLED screens are immersed in the five curved acrylic tubes, continuously displaying parts of human skin and the scratches on the inflamed skin wherever the virtual cursor goes. The words were taken from a smartphone powering-up slogan “Hello,” a social media company ad “Dive into Anything,” a revolutionary slogan in squares “Join or Die,”…

A static sculpture stands atop a pixel-shaped blue screen. One end of the curved black PVC bend is the swipe gesture under the user’s dimension-reduced avatar, and the other end is a cursor arrow with a stainless-steel texture. In this sculpture, the cursor arrow evolves from pixelated jaggedness into a harmful sharp dagger. The black…

A static sculpture stands atop a pixel-shaped blue screen. One end of the curved black PVC bend is the mouse control gesture under the user’s dimension-reduced avatar, and the other end is a cursor arrow with a stainless-steel texture. In this sculpture, the cursor arrow evolves from pixelated jaggedness into a harmful sharp dagger. The…

A curved black PVC bend shuttles through the walls and corners of the space. One end is the swipe gesture under the user’s dimension-reduced avatar, and the other end is a flat cursor arrow. The black bend is both the user’s dimension-reduced body (arm) and also the path of the screen operation interface.

A static sculpture stands atop a pixel-shaped blue screen. One end of the curved black PVC bend is a fist to show protest under the user’s dimension-reduced avatar, and the other end is a flat cursor arrow. The black bend is both the user’s dimension-reduced body (arm) and also the path of the screen operation…

A static sculpture stands atop a pixel-shaped blue screen. One end of the curved black PVC bend is the mouse control gesture under the user’s dimension-reduced avatar, and the other end is a cursor arrow with stainless steel texture. In this sculpture, the cursor arrow does not have the pixel-like sawtooth, but becomes a harmful…

A static sculpture stands atop a pixel-shaped blue screen. One end of the curved black PVC bend is the swipe gesture under the user’s dimension-reduced avatar, and the other end is a flat cursor hand. The black bend is both the user’s dimension-reduced body (arm) and also the path of the screen operation interface.

A static sculpture stands atop a pixel-shaped blue screen. One end of the curved black PVC bend is a fist to show protest under the user’s dimension-reduced avatar, and the other end is a flat cursor arrow. The black bend is both the user’s dimension-reduced body (arm) and also the path of the screen operation…

A cursor pointer that is controlled by a machine with a horizontal and vertical track moves on the white screen, on which contents are only visible within the cursor area. The visible contents of the videos are parts of collaged, life-sized heads, and the cracked figures are the projection of the tired faces of the…

A cursor arrow that is controlled by a machine with a horizontal and vertical track moves on the white LCD screen, on which contents are only visible within the cursor area. These visible video shards reflect the fragments of seven-deadly-sin human desires. The cross-shaped industrial track moves constantly, providing an established algorithm path for viewers…

The screen is the flag, and the flag is the screen. A collapsed LED screen-flag lies on the ground, circularly displaying the slogans borrowed from social media company slogans, revolutionary slogans, and technical reflection treatises, each with a word in it as a staging post for the next. Therefore, dozens of these slogans have formed…

The screen is the flag, and the flag is the screen. The 7.8-inch flexible curved display is slightly raised by the blower behind it and becomes a waving blue flag. The words TOMORROW elaborately carved on the acrylic and the emojis on the blue screen-flag indicate that the screen will become an integrated carrier of…

The two tiny screens are set at the same distance between human eyes, so viewers have to watch with both eyes to get the complete contents. Each eye is fed with different video contents, which are constantly pieced together in the peepers’ minds to create a video montage. On the one hand, the work describes…

It is a religious symbol made out of the negative form of four interspaced screens, with flowing and bursting supernatural green rays flickering constantly. Screens have now become the fundamental medium that modern people rely heavily on. People’s spiritual life is stored in those separated yet bridged screens.

It is a religious symbol made out of the negative form of four interspaced screens, with flowing and bursting supernatural blue rays flickering constantly. Screens have now become the fundamental medium that modern people rely heavily on. People’s spiritual life is stored in those separated yet bridged screens.

It is a religious symbol made out of the negative form of four interspaced screens, with flowing and bursting supernatural red rays flickering constantly. Screens have now become the fundamental medium that modern people rely heavily on. People’s spiritual life is stored in those separated yet bridged screens.

When you gaze into the abyss, do you know where the abyss is gazing back at you? The artist selected several AI-generated pseudo-human portraits from thispersondoesnotexist.com, and reassembled all of them into an animation. On this website, the AI uses the eyes as the central focus of its algorithm. When the portraits are fast-played in…

The artist used a one-take long shot to film close-up segments of a model’s full body skin, and presented them through a micro-display equipped with a magnifying lens for viewers to observe voyeuristically. On the transparent yellow acrylic shell appears the inscription “The Truman Show.” In today’s online context, everyone is both a voyeur and…

On a metal rod tightly wrapped with dense cables, a pair of screens continuously display animated eyes. These animations, each symbolizing different emotions, seem to have become emotional surrogates for the joys and sorrows of the users behind the screens, replacing genuine individual feelings with a flattened, kawaii-style universal expression. The use of VR headset…

The Abyss Watchers No.1 reassembles discarded screen pieces of VR headsets and reasserts fragmented video footage of human models. Fathoming the profound engagement and intervention of digital media in our lived experience, this work offers a prophetical rendering of the futuristic Frankensteined species. The pair of eyes that commands the viewer’s self-awareness in consciousness unveils…

The Vanishing Prophecy No.2, lays OLED displays in tanks filled with transparent electrical insulating oil, which provides stability at high temperature and commonly used for high-voltage switches and circuit breakers. The submerged OLED screens illustrate either circulating lines of existential questions chosen by the artist or video footage filmed by the artist that closely examines…

Inside a cylindrical liquid container, an OLED screen with a blue background continuously displays twenty sets of existential questions. The artist positions this screen and its control unit as a “specimen” from the future, where all the questions become a cross-temporal dialogue with the viewers in the exhibition space.

Three round screens of varying sizes show the classic smile of Mickey Mouse. When the viewer approaches within 1 meter, Mickey’s features collapse simultaneously.

The round screen displays the “Smiling Face” emoji. When the viewer approaches within 1 meter, the smile collapses instantly.

The round screen displays the “Smiling Face” emoji. When the viewer approaches within 1 meter, the smile collapses instantly.

The round screen displays the “Slightly Smiling Face” emoji. When the viewer approaches within 1 meter, the smile collapses instantly.

A custom-built “mouse hole” modeled after Tom & Jerry was carved into the exhibition wall, in the silhouette of the “Raised Fist” emoji. Electrical wires spill outward from this aperture into the gallery space.

Five different skin-colored versions of the “Raised Fist” emoji are printed on a lenticular grating panel. As viewers shift their angle of view, the perceived “standard skin color” of the fist continuously changes.

A crystal ball with an inner-engraved “Raised Fist” emoji encircles the phrase revolution without revolution, placed atop a monument-like pedestal.

The artist collected “Raised Fist” emojis from social media platforms and recomposed them into a fast-looping animation. The trembling fists resemble a silent protest, presented through a miniature screen that renders this elusive square of resistance.

On a circular ring, thirty 5.5-inch displays are mounted, each connected to its corresponding ultrasonic sensor and a Raspberry Pi control unit. Whenever a viewer stands in front of a screen, a high-speed video of an arm raised upward appears on the black screen; once the viewer leaves, it immediately returns to black.

The “(being) role-played” identity has become a key feature of today’s social media. The artist re-drew fragments of thirty classic cartoon characters—their raised arms—formally appropriating Annette Lemieux’s seminal street-political work Left Right Left Right (1995). These protest placards and the cluster of cartoon fists raised upward seem to stage an act of resistance and accusation,…

In Neon Spiral, against the constantly shifting halo of urban popular aesthetic paradigms, nearly sixty well-known commercial brand slogans appear and disappear, forming a Moebius-like temporality. The work is presented on an irregularly contorted LED billboard, fatigued and precariously leaning against a wall.

This site-specific installation for the gallery’s second floor features a glowing levitating moon above a square water basin. It interrelates with the main hall works Circle and Dandelions and The Edge of the Earth, weaving a cross-spatial narrative that extends the exhibition’s conceptual framework.

This work is an abstract diagram of conceptual thinking and narrative mapping. Composed of 66 images, Relational Aesthetics visualizes the intertextual relationships among the project’s works. It offers viewers another channel to access the artist’s thought process while also serving as a tool for the artist to refine logic and extend future possibilities.