Split Air Conditioner Nano Silver Activated Carbon Deodorising Antibacterial Filter
2024
dimensions variable
plastic, fabric, dust, and other mixed media
"Split Air Conditioner Nano Silver Activated Carbon Deodorising Antibacterial Filter" is a wall sculpture modeled after the filters commonly found inside wall-mounted mini-split air conditioners across East Asia. The work extends the artist’s inquiry into the violent imposition of modernist grids onto organic bodies, while also exposing our paradoxical dependence on such rigid systems to regulate, organize, and purify the increasingly hostile and unstable environments on which human survival depends.
Typically made of fragile injection-molded plastic, these filters are ubiquitous yet largely unseen, concealed within the machine as a hidden infrastructural component. Here, they are stripped of their function and reimagined as dusty, forgotten relics. In their delicate, skeletal forms, they begin to evoke objects such as dreamcatchers or Korean pojagi, drawing unexpected connections between fragility, filtration, and containment.
Embedded within these frameworks are intricate 3D-printed lithophanes depicting stills from East Asian air conditioner commercials. Each lithophane captures a similar scene: a protagonist closes their eyes and inhales fresh, conditioned air as a gentle breeze lifts their hair. These fleeting, idealized images, suggestive of ultimate calm or enlightenment, point to a persistent fantasy within hyper-capitalist East Asian societies, where comfort, purity, and control are endlessly promised yet remain perpetually out of reach.
分體式空調納米銀活性碳除臭抗菌濾網
2024
尺寸可變
塑膠、布料、灰塵及其他混合媒材
《分體式空調納米銀活性碳除臭抗菌濾網》是一件牆面雕塑，形態取自東亞地區常見的壁掛式分離式冷氣內部濾網。作品延續藝術家對現代主義網格如何暴力加諸於有機身體的探問，同時揭示人類對這類僵硬系統的矛盾依賴——我們仰賴它們去調節、組織與淨化那些日益惡劣且不穩定、卻又攸關生存的環境。
這些濾網通常由脆弱的注塑塑膠製成，作為一種普遍存在卻鮮少被看見的基礎設施元件，長期隱藏於機器內部。在作品中，它們被抽離原有功能，轉化為積滿灰塵、彷彿被遺忘的遺物。在其纖細而骨架般的形式中，這些濾網也令人聯想到捕夢網或韓國包袱布（pojagi），使脆弱性、過濾機制與容納行為之間產生意想不到的連結。
嵌入這些骨架結構之中的，是複雜的3D列印透光浮雕（lithophane），其圖像取自東亞空調廣告中的靜態畫面。每一塊透光浮雕都捕捉了近似的瞬間：主角閉上雙眼，吸入清新而經過調節的空氣，微風輕拂髮梢。這些短暫而理想化的影像，如同對終極平靜或啟蒙狀態的投射，指向東亞高度資本主義社會中一種持續存在的幻象——舒適、潔淨與掌控被不斷許諾，卻始終停留在難以真正抵達的彼岸。
