The Deconstruction of Fabricated Realities
Artist’s Statement
NOBODYHERE explores the tension between manufactured facades and raw existential truth through a dynamic range of materials.
Incorporating structural armatures, traditional canvas, everyday vessels, and sacred paper crafts alongside mineral pigments, oil, and gold leaf, the work creates a dialogue between the permanent and the fleeting.
Fire serves as the unifying, transformative agent. Through controlled scorching, pristine cultural motifs and rigid structures are ruptured, giving rise to charred voids and volcanic, tactile surfaces.
Fusing Eastern ritualistic techniques with Western painterly traditions, fire acts as both a destructive tool and a transformative ritual.
NOBODYHERE turns diverse material states into poetic, physical relics of impermanence, memory, and truth.
被拆解的虛構現實
NOBODYHERE 的創作是一場探索「人造完美」與「真實存在」之間張力的物質實驗。藝術家不局限於特定媒介，而是將金屬/紙紮骨架、傳統畫布、日常容器，與永久性的礦物顏料、油彩及金箔交織在一起。
火焰在創作中扮演了核心的轉化角色。透過受控的灼燒與破壞，無瑕的視覺符號與結構被切開、焦化，留下如同火山地質般的炭化痕跡。
火，既是毀滅，也是還原。它打破了不同材料之間的界線，將西方聖像畫與東方祭祀工藝進行跨文化碰撞。作品將這些被重構與破壞的物質，轉化為直面存在空洞、時間消逝與精神殘骸的實體憑證。
The Fabricated Expression
Nobody Here features icons from the lexicon of cartoons and anime confined within regulated formats. By fusing cultural imperialism and "Disneyfication" with destructive intervention, the artist exposes the existential absurdity of our curated identities, condensing human complexity to a singular hallucination.
The Anatomy of Hypocrisy
Here, the performance of "niceness" is treated as a social passport—a mandatory mask for survival. The collection pierces this facade to reveal the hypocrisy simmering beneath, highlighting the profound anxiety of confronting the "nothingness" behind the system. If our identities are merely mass-produced hallucinations, we face the imminent risk of a total loss of self. The protagonists embody a striking duality—manifesting heroism alongside cowardice—reflecting the chaotic disintegration of truth in an age of information overload.
Ritual & Destruction
To ground these marginalized voices, the artist employs a diverse material palette ranging from Western ecclesiastical gilding to Chinese temple paper rituals. Through the performative use of fire (candles, beeswax, and flame guns), the artist scorches the imagery. This destructive methodology acts as a sacred ritual; creation through destruction enables the work to transcend its form, triggering a revivification that mirrors a society constantly tearing down to build anew.