At the Genesis: Of Ella and of China
最開始的:艾拉的與中國的
2018
Acrylic on canvas
112 x 112 cm

On the Surface: The Substantive and the Illusionary
表面上的:實有的與虛無的
2018
Acrylic on canvas
2 pieces
112 x 112 cm each




Under the Gaze: The Receptors and the Ejectors
注視下的:接收的與發射的
2018
Acrylic on canvas
4 pieces
112 x 112 cm each




From Over There: The Powerful and the Controlling
那邊來的:權力的與控制的
2018
Acrylic on canvas
4 pieces
112 x 112 cm each




On the Grid: The Banter and the Wit
格子上的:談笑的與風生的
2018
Acrylic on canvas
4 pieces
112 x 112 cm each




Under the Surface: The Orientation and the Reposition
表面下的:定位的與歸零的
2018
Acrylic on canvas
2 pieces
112 x 112 cm each
THE ANIHC SERIES I - EVERYTHING AND NOTHING 艾 尼 西 系 列 I:所 有 事 與 沒 有 事 (PDF Version


At the Hindermost: The Dotted and the Connected
最後面的:點點的與連連的
2021
Screen print
2 pieces
56 x 76 cm each




Under the Surface: The Barcode and the Password
表面下的:條碼的與密碼的
2021
Screen print
2 pieces
76 x 56 cm each

On the Surface: The Literal and the Allegorical
表面上的:顧名的與寓言的
2021
Screen print
2 pieces
76 x 56 cm each




THE ANIHC SERIES II - SPAMS FROM ASOMROF 艾 尼 西 系 列 II:來 自 阿 森 若 夫 的 垃 圾 郵 件
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The Anihc Series emerged from a travel experience to China's "ghost cities," where I became aware that the formation of ghost cities concealed a number of interests beyond the official proclaimed purpose of constructing new residential spaces. The locations (spots) occupied by these ghost cities seem to fall into squares on the predetermined grid of a chessboard (the city). The rules of play in this chess game are the products of power and control, where the player is a unilateral observer and decision maker. This is a chessboard played with only black pieces, and filled with strategic (political) manipulations. I attempt to respond to this state of observation through the contemplative and expanding methodology of a layout plan. 

The Anihc Series comprises of two series. The first, The Anihc Series I: Everything and Nothing, is an interpretation of my aforementioned observations on the "chessboard" phenomenon, and explores the perspective state through circular structures and rectangular structures which respond to the relationship between geometry and the control of power. The second, The Anihc Series II: Spams from Asomrof contains map windows and text works. It functions as a password to decrypt the codes from this journey to Chinese ghost cities.

The nomenclature of each work functions as part of the decryption. Anihc is actually "China" spelled backwards; its pronunciation sounds like the word "everything" and everything equals nothing. Spams from Asomrof is a reversal of "Maps from Formosa." This act of reversed reading implies an inter-communicability in the process, between the starting and ending points of this creative project. 

To see more information about this project, download The Anihc Series (PDF version, 3mb).

「艾尼西系列」發展自一趟中國鬼城行的經驗,過程中我察覺到鬼城的形成,背後隱含著許多不同的利益目的,而非只是表面上的說法——建設新的居住空間。鬼城的位置(點)像是置落在矩格狀的、被劃分好的的棋盤(城市)裡的棋子,運棋的法則是一種權力與控制下的產物,下棋者是單方面的觀看者和決定者,這是一個只有黑子的棋盤,裡面充滿(政治)操作的手段。我試圖透過圖式的思考和擴張來回應這種觀看的狀態。

「艾尼西系列」包含兩個系列:《艾尼西系列 I:所有事與沒有事》詮釋上述我所觀察到的「棋盤」現象,以圓形結構來討論觀看的視點狀態,方形結構回應幾何和權力控制的關係。《艾尼西系列 II:來自阿森若夫的垃圾郵件》包含地圖視窗和文字作品,作為解碼這趟中國鬼城行的密碼。

作品命名是密碼的運用之一,艾尼西(Anihc)其實是中國(China)倒著唸,Anihc 的發音也像 Everything,所有事等於沒有事(Nothing)。來自阿森若夫的垃圾郵件(Spams from Asomrof)則是倒念來自中國的地圖(Maps from China)。從反方向閱讀暗示這個創作計畫的起點和終點,過程之間是可以互通的。

閱讀更多關於這個計畫的訊息,請下載:艾尼西系列 (PDF版本,3mb)。