"Unborn" (2023) is a mixed media sculpture I created in the past couple months integrated wet plate collodion photography with kinetic structure and olfactory sensitivities. It symbolises the cycle of birth and death, raises a thought of the meaning of life and the original quality of all things in nature.

No matter how long or short the life is,
live in the moment.

The sculpture is separated into two parts.
Part A at the right is constructed from an U.K. oak driftwood as a based stand with dry tree branches attach to its back. It has been burned by fire as a traditional way named Shou Sugi Ban (Yakisugi) to preserve wood for its longevity. The burning process turns the driftwood to be resistant to fire, insects, fungus, rot, harmful UV rays with practical value. It switches the so called abandoned and useless piece to have its function again. Whether the unless item is indeed useless, or it has its beauty and purpose in another perspective?

Hanging on the driftwood is a pair of antique baby deer antler from Germany in 1908 to represent the death of a short life.

Above the driftwood are three kinetic structure bronze pieces with reviving mechanism. The bottom bronze piece is cast from leaves of Monstera (Swiss Cheese Plant), the plant naturally have holes on leaves and is an easy care evergreen. It refers to life may have lots of difficulties while still can be positive and live an easy simple life.
The top two bronze pieces are cast from ex teaching hospital human spine and been hand sculptured to have wave curly shape. Spine is the axis for the human body and simplifies the support around us in life and the alignment with those supportive forces. Feel thankful and blessed to have them.

A burned hollow wood egg is attached to bronze with the design of Tai Chi graph, which the original wood block was prepared since 2 years ago to be strong enough for hollow crafting. Tai Chi graph reflects the inescapably intertwined duality of all things in nature as a common theme in Taoism. The egg shape is a symbol of life because it encloses nascent life to emerge from it. It embodies the idea of rebirth and rejuvenation in the cycle of life with neither a beginning nor an end.
Surface of the egg has been crafted with holes with agarwood incenses inside. When the incenses been burned, white smokes are gently come out of the holes and surrounding the sculpture. Agarwood is a fragrant dark resinous wood formed in the heartwood of Aquilaria trees when they become infected with a type of mold (Phialophora parasitica) and secrete a resin to combat the mould. This wood can only be formed when the tree is been inflected or cut. It represents certain elements in life could only be obtained when go through sufferings and difficulties.

Between two bronze pieces there is a morpho helena buttterfly taxidermy from amazon rainforest in Peru (ethical). It is named after greek god "Morph" and is one of the biggest type of butterfly in the world. The entire lifespan for blue Morpho helena's life is around 110 days and it says it has less than a week to live as a form of imago butterfly. The symbolic meaning is no matter how short the life is, you can still live a wonderful life beyond the limitation of time.

At the back of the top two bronze, three lost-wax casted bismuth are attached based on the shape of finger squeeze. It means life sometimes could be tough and we need to push the border to survive within waves, but we will figure it out and go through them.

At the back of the bottom bronze, there is a metal stone crystal from South America where Kon-Tiki departs. Kon-Tiki expedition was a 1947 journey by hand built raft across the Pacific Ocean from South America to the Polynesian islands, led by Norwegian explorer and writer Thor Heyerdahl to prove his assumption even though he has nature fear of water. This crystal is covered by a lime stone (Taihu Stone/ porous stone) with holes shaped by water over time from China. It represents we may encounter fears in our life to step out of comfort zone, but we can overcome it with passions and dreams over time.

In the bronze joining point, there are three human teeth (ethical). Tooth enamel is the hardest substance in human body and could remind in ashes after cremation. It raise a question of what remains after death.

On the left is the Part B of sculpture, it is a burned Thailand chopping board with France grape branch and an U.K. wood plate. The burn pattern represens fire.
On the surface of chopping board is a self-portrait in glass use 19th century wet plate collodion ambrotype technique. The layered glass on top is hammer smashed on the position of left eye. It means even if we are smashed and painful, we can still look into whatever happens and overcome it.

All the different pieces above reflected different periods of myself. They are all part of myself and is a process of questioning my own existence of the unborn.

Life is beyond birth and death.
Live in the moment.

Part A media: Wood, Lost-wax casting bronze with patination, Bismuth, Deer antler, Teeth, Stone, Butterfly taxidermy.
Size: 80 (L) * 60 (W) * 140 (H) cm

Part B media: Wet plate collodion ambrotype photography, Glass, Wood.
Size: 67 (L) * 60 (W) * 30 (H) cm

《無生法忍》(2023)是我將濕板火棉膠攝影與動態結構和氣味相結合的混合媒體雕塑。 它象徵著生與死的循環,引發人們對生命意義和自然萬物本性的思考。


雕塑分為兩部分: 雕塑右側的A部分底座以英國飄流橡木製成,背面附有上乾樹枝。 傳統上人們用烈火焚燒木頭的處理方式稱為“燒杉板”,用以保存木材使其長壽。 這個燃燒過程之後使漂浮木具有了防火、防蟲、防黴、防腐和防有害紫外線的實用價值。 它使所謂廢棄的、無用的物件重新發揮其功能。 是否我們以為的無用之物真的無用,還是換個角度無用之物也有它的美麗和存在的意義?


漂流木上方是三塊具有動能結構的青銅。 最底部的青銅由龜背竹(瑞士起司植物)的葉子烙印並鑄造而成,這種植物的葉子天然有孔,但同時又是一種易於打理的常綠植物。 它代表了生活中可能會遇到許多困難,但仍能保持積極向上的心態過著輕鬆簡單的生活。

上面的兩件青銅件是由前醫用教學的人體脊椎骨鑄造而成,並用手工雕刻成波浪捲曲的形狀。 脊椎是人體的中心軸,它代表了我們生活中接收到各種各樣的支持和援助,以及能擁有這些援助的幸運和幸福。
在青銅的上方附帶著一個火燒過的空心木蛋,它的表層帶有太極圖樣的孔洞設計。這個木頭蛋的原始木塊經過超過兩年的材料準備去讓這個木頭的強度和濕度穩定,從而能夠進行空心的鏤空雕刻。 太極圖形反映了自然界萬物交織在一起的二元性,這是道教的一個核心圖樣。 蛋的形狀是生命的象徵,因為它象徵著新生命的誕生。 它體現了生命循環中的生而復始的概念,沒有開始也沒有結束。

蛋的表面雕刻有空洞,裡面放有沉香線香。 當香被點燃時,白色的煙霧從孔中輕輕地漂出並包圍著雕塑。 沉香是一種芳香的深色樹脂木材,它是當沉香樹感染一種黴菌(寄生黴)並分泌樹脂來對抗黴菌時,在沉香樹的心材中形成。 這種木材只有在樹木被傷害或砍伐時才能形成。 它代表生命中的某些元素只有經歷痛苦和困難才能獲得。
兩塊青銅之間是一隻來自秘魯亞馬遜雨林的藍色光明女神蝴蝶標本(道德)。 它以希臘神“Morph”命名,是世界上體型最大的蝴蝶種類之一。 這種大閃蝶的整個壽命約為 110 天,據說它作為成蟲蝴蝶的壽命還不到一周。 它的象徵意義是無論生命多麼短暫,仍然可以超越時間的限制,過著精彩的生活。

兩塊青銅的背面附有根據手指擠壓形狀而製作而成的三塊金屬鉍。 這意味著生活有時可能很艱難,我們需要突破界限才能在波浪中生存,但我們能咬牙堅持並度過難關。

底部青銅的背面有一塊來自南美洲康提基船出發地的金屬石晶體。 康提基號探險旅程是1947 年由挪威探險家兼作家托爾·海爾達爾(Thor Heyerdahl) 帶領的一次使用手工建造的木筏從南美洲到達波利尼西亞群島的橫渡太平洋旅程。儘管他天生怕水,但在這次旅程中他克服恐懼堅持去驗證自己的假設並追求夢想。 這塊晶體的上部被一塊中國的太湖石覆蓋,太湖石上有隨著時間推移由湖水沖刷出的天然孔洞。 它代表我們在生活中可能會遇到各種需要走出舒適圈的恐懼,但隨著時間的推移,我們可以用熱情和夢想去克服它。

在青銅的連接處,有三顆人類牙齒(道德)。 牙齒琺瑯質是人體最堅硬的物質,通常在火化後會在骨灰中留下來。 它的存在提出了一個問題:人死後還留下什麼。

雕塑左邊是B部分,中間是一塊燒過的泰國菜板,上面安裝著法國葡萄枝和英國木板。 燃燒後的木頭圖案代表火。 菜板表面釘有一幅玻璃自畫肖像,它採用19世紀濕版火棉膠攝影技術拍攝而成。 再上面訂有一層夾層玻璃在了左眼的位置砸碎了。 這意味著即使我們被擊垮和痛苦,我們仍然可以審視發生的一切並克服它。



雕塑結構: A 部分媒介:木材、脫蠟鑄造青銅、鉍、鹿角、牙齒、石頭、蝴蝶標本。