there is a Glare on my screen

2025.12.13-01.10 There is a Glare on my screen, Frees Art Space, Taipei, Taiwan

there is a Glare on My Screen is composed of works inspired by a rethinking of various technologies and technical objects. The glare on a screen—a shared experience inherent to the use of electronic devices—is that blinding light which causes physiological dazzle. It serves as a starting point and a prompt. This flickering glare contains multiple light sources and layers of information; it enables us to perceive the technical objects and materiality underlying the mobile phones, computers, and televisions that carry the images on display. We are suffocating within an immersive stream of data, often without realizing it. there is a Glare on My Screen is composed of works inspired by a rethinking of various technologies and technical objects.

The exhibition attempts to employ a conceptual mode of thinking—possibly derived from sculpture—to traverse from projectors, screen light, LCDs to LED screens, liquid crystals, and light-emitting diodes, to the signal transmission and translation between devices, and from images to the encoding, models, values, and bits of image files. It seeks to reflect on how we sense or perceive digital objects, how digitalization manifests in our lives, and how it reconstructs our perception.

Screen glare represents a technical "moment of breakdown." It is not merely a physical dazzle, but a hint that pierces the myth of the seamless experience. As artist and researcher Juli Laczkó noted in the article "All Computers Are Broken: Rethinking the Technosphere along the Lines of Repair and Maintenance Work" (presented at MetaForumX 2024), the norm of technology is not smooth operation, but continuous entropy, disintegration, and wear. The fluidity and immediacy we perceive rely, in fact, on a vast—yet often invisible—"maintenance and repair labor" to hold together its fragile existence.

Glare, then, becomes a fissure within this hidden system. When the smooth flow of data is interrupted by a patch of light, we are forced to withdraw from our immersion and re-recognize the material foundations supporting the virtual illusion—from heating chips and submarine fiber-optic cables to the constantly spinning fans in countless servers, as well as the maintenance work of troubleshooting and patching. I attempt to view glare not merely as a physiological discomfort, but as a form of "reparative thinking." It reminds us that behind every seemingly immaterial digital landscape lies constantly degrading matter, as well as a politics of the senses and labor that remains to be seen.

White picture(Seven Panel) 2025 Projector、transparent image Inspired by Robert Rauschenberg's White Paintings, White Picture (Seven Panel) rethinks White Paintings in the light of contemporary digital technology, multiplying the organic state of space and environment. The work uses projected images without pictures to multiply the organic state of the space and environment in which it is embedded. The work responds to "White Paintings" by projecting images without images, thinking about what is the absence of an image and what is the image of absence in the light of images without images. Three projectors of the same model were set up at the installation site with equal spacing, and a hex editor was used to compile a "clean" png file with only a transparent alpha layer (without any editing, software, or commercial company information), and the transparent png file was projected by the three projectors at the site to produce a pictureless image. The transparent png file is projected by three projectors on the site to create a projection screen with no picture. The projector is the active subject in the artwork, and the transparent png file is translated by the information and light from the projector to create a visible projection screen with no picture on the site. In this way, the projection responds to the organic state of White Paintings in relation to the space and environment through the relationship between topography (the projection of value and space) and projection technology (the correspondence between space and space), and the correspondence and interaction between the transparent file and the projector.

Digital Sunrise, Digital Sunset, Digital Rainbow 2025 Projectors, LED screens, mobile phones, water droplets, Instagram filters, light-emitting diodes The work consists of a continuum of textures in the perception of digital objects linked from small perceptions of life scenes, from the color residue of a TV screen, the color bias of a projector, the color moiré of a photograph, and the RGB color crystals refracted by a water droplet on the screen, to build up an exploration of the physicality of images, light, and digital objects. The installation consists of a projector, led screen, cell phone, cell phone filter, and light emitting diode.

Good Contact 2025 LS-DYNA collision physics simulation, 3D printing, digital modeling, solid fold, shell fold, corner, rectangle solid, cube, square shell, rectangle shell, square shell, beam The term "contact" in collision physics simulations refers to how objects (models) interact with each other. In these simulations, no broken surfaces, penetrations, or numerical errors should occur, and accurate contact modeling is crucial for precise predictions under constrained conditions. A "good contact" denotes a "good relationship" between models, with any deviations considered inaccurate and lacking reference value. "Good Contact" encourages reassessing the "good relationship" of digital models, challenging the virtual status of digital, and contemplating digital objects detached from real-world physics to better understand their existence.

Support Structure Sculpture一JKS 2025 Video, 3D printing, PLA plastics, generative AI "Support Sculpture - JKS" is a support structure sculpture of Taiwan's first bronze statue of Chiang Kai-shek made by Taiwanese sculptor Pu Tian-Sheng Pu. The work utilizes the concept of supporting structures as a by-product of 3D printing to create a cinematic sculpture, with the video narrative forming the 3D-printed structure itself. The work not only deals with the relationship between the basic support and scaffolding of the magnificent statue and the architectural and supporting structures but also explores the political relationship between sculpture, monuments, and society. In addition, through 3D printing, it attempts to make connections between positive and negative history, monument and anti-monument, memory and anti-memory, digital and analogical, and the role of technology in shaping contemporary memory.

Law on building a bronze statue of President Chiang Kai-shek 2025 Photocopied paper, generated AI, Bronze statue of Chairman Chiang Kai-shek in military uniform(Tian-Sheng Pu, 1946) work is a image generate by 3D model-generating AI that re-models the image of Pu Tien-shen's “bronze statue of Chiang Kai-shek in military sute” in order to AI-formed chaotic image mapping and modelling errors as a response to Taiwan's past dictatorship law 〈Law on building a bronze statue of President Chiang Kai-shek〉, the law and the collective memory of the society.

Introduction : Sculpture is always in the Body 2025 Sculpture This is a continuation of the work *Introduction: Sculpture is always in my minds*. It compresses the systematic questions about sculpture that expanded spatially in the previous work into an object-oriented manifesto. The work no longer stops at mere fragments of thoughts in the mind, but extends to the body of the medium. If sculpture is a mass, then the body of the mass is a pathology. The work attempts to materialize the physical symptoms of digital ontology by juxtaposing a decaying medium, a decaying medium, an old screen that plays images while simultaneously displaying its own damage, and a stuck, eternal loop, on a GIF image on a 3D printed relief. It is no longer an operation on perception, but the physical state of perception itself, a new digital ontology that constantly twitches between the data corpse (relief) and the decay of the medium (screen).