Modern society’s system of time is built on precision and predictability. But Temporal Stream chooses to focus on what lies outside this structure—those subtle, individual, and unsynchronized temporal experiences.

The work imagines a domestic scenario, where beneath the seemingly rhythmic mechanics of timekeeping, lie personal perceptions, discrepancies, and the quiet passage of time.

Above, a rotating mechanism mimics the motion of a sundial, casting shifting shadows as a poetic trace of time. At the center, a round table mirrors the hands of a clock, reinterpreting the familiar language of everyday time through a softened, lyrical lens.

In the boundless sky, flight blurs the boundaries of distance and time.

As one of the most representative modes of contemporary transportation, airplanes not only break through the limitations of space but also make us reconsider how time is perceived and defined in a world of rapid movement.

This art installation was commissioned by STARLUX Airlines and in collaboration with the design team Skillability, creates a space infused with a futuristic and sci-fi atmosphere.

Unlike the metallic version of Copies of Phantasm, this iteration uses real feathers paired with the natural warmth of wood, seeking to evoke a softer, more delicate tone. Beyond its mechanical structure, the piece offers a sensory experience that feels closer to nature, blurring the boundary between sight and touch.

Light determines all that we see. Every ray that enters the eye is filtered and shaped by the opening and closing of the iris. Inspired by this subtle mechanism, the artist transforms the act of perception into a feather-light mechanical structure—one that spins softly, mirroring the fleeting moment of seeing, while reflecting the distance between perception and reality.

Like a lens and a summoning feather at once, the installation points toward unnamed islands and unmapped territories. It becomes both an organ of observation and a portal into its own copied phantasm—an uncanny mirror of the real. As viewers linger, they drift between perception and projection, entering a realm where vision, replication, and illusion entwine.

「 風雨冥晦時，惟憑針盤而行 」

In times of storm and darkness,
only the compass can guide us forward.

– Dream Liang Record 夢粱錄

Drawing inspiration from this evocative line in a Song dynasty maritime chronicle, the artist reimagines the ancient compass as a slowly rotating mechanical installation.

Chu is an art installation commissioned by the culinary space Circum-. Positioned at the center of the space, the piece symbolizes both the stern of a ship and a maritime compass.

The title Chu 舳 combines the Chinese characters for “boat 舟” and “origin 由,” evoking ideas of direction, navigation, and steady guidance.

Light determines all that we see. Every ray that enters the eye is filtered and shaped by the opening and closing of the iris. Inspired by this subtle mechanism, the artist transforms the act of perception into a feather-light mechanical structure—one that spins softly, mirroring the fleeting moment of seeing, while reflecting the distance between perception and reality.

Like a lens and a summoning feather at once, the installation points toward unnamed islands and unmapped territories. It becomes both an organ of observation and a portal into its own copied phantasm—an uncanny mirror of the real. As viewers linger, they drift between perception and projection, entering a realm where vision, replication, and illusion entwine.

Ae’em is the Saisiyat term for the pangolin, an important creature in their mythology and daily life. The name reflects its deep cultural significance within their community.

In the myths of Taiwan’s Indigenous peoples and Hakka communities, the pangolin dwelling in the low-elevation mountains is both a slumbering youth and a golden spirit beast that gently turns the soil and nourishes the earth. Yet in the reality of our world, pangolins, their scales falsely believed to hold medicinal properties, have become coveted prey in the transnational smuggling trade—a human greed that has woven an endless curse upon them.

Once, Taiwan exported tens of thousands of pangolin skins each year; it was not until the enactment of the Wildlife Conservation Act in 1989 that pangolins were listed among the first group of protected species, slowly retreating from the brink of disappearance. This history traces a long and difficult journey of reconciliation between humans and nature.