b. 1998 Taiwan
2022-2023
MA Sculpture, Royal College of Art, London
2017-2021
BA Painting, Edinburgh College of Art, Edinburgh
Group Exhibitions
2023
Our Vision is Clouded, Warblling Collective, Shoreditch, London
Third Floor Exhibition, Woo Building RCA, London
Everything is Temporary RCA interim show, Hawley Wharf, London
2022
Tenderfoot, St. Margaret's House, Edinburgh
2020
Space Jam, Reid Concert Hall, Edinburgh
Tzuhan's practice looks at what we experience and what we depend on to experience. Her works usually consist of physical and digital mediums, conveying the confluence of weight and tension. She values fluid space where constant presence is activated.
Over-rigid strategies deprive improvisation of space. Considering clock time as merely a method how human’s experience is calculated, she associates clock time with structure and rigidity. And being inspired by constructivism and brutalism in terms of the absence of flexibility and structural assemblage, she explores an imaginary habitation to escape from system and politics. Her works convey liminality between construction and deconstruction in that she attempts to pursue non-linear time per se.
To fulfill the absence of weight in digital works, her practice is also stabilised by looking at the force of gravity on earth. The shape of our planet is not a perfect circle but resembles an irregular Potato; it has an intrinsically organic quality which might be overlooked due to its dimension. An enormous sphere in motion, the earth still has natural and dependent essence in relation to human’s experience in that they are both subject to time.
A steel sheet is balanced on an irregular form with the moving image of a rotating object projected on it. The work looks at tangible and intangible mediums to convey constant fluidity of real space and liminal quality of digital world.
The thin steel sheet introduces the metaphors of linear time and infinite space due to its visible but almost invisible perceptions when it is seen horizontally. The work deconstructs clock time in terms of its mathematical repetitions so as to convey immense time/space without dimension.
The installation attempts to shy away from the fear of rigidity and structural assemblage, it embraces flexibility of experiences and events.
The work is constituted by a perspex sheet, a steel box and a group of hand shaped stones. Two sides of the box have two horizontal gaps, which provide narrow slits for the perspex sheet to sit nicely in the box.
The structure was rigorously calculated, conveying the tension between order and precariousness. The position of stones on the transparent sheet is the metaphor of fluid experience in relation to rationality, communicating the paradox of constructing while restricting.
We are living in a liminal transition while seeking the sense of groundedness. Considering the present era as an interrelation between physical and digital entities, we are experiencing a fragmental and intricate (re)construction of reality.
Despite all disorderly fragments and shreds, I envision an optimistic harmony through timeless digital work as a threshold of transcending the confine of linear time and construction.
