The work begins with the concept of analogue layers, demonstrating the flatness, synchronization and power relations between images and objects. The lights symmetrically and synchronously flashing, together with identical screen content simultaneously playing on both the virtual and the physical phone, amplify the observational discontinuity between the visual (of the complex machine setup) and the actual data (like the optics experiment in elementary physics class): the objecthood space arouses suspicion and a sense of uncanniness after being observed for some time. When there is an ambiguity between the image and the installation, the two phones bear expressions. Viewers sensitive to light and space may naturally attempt to block light with their hands and feet and start to trace the HDMI routes to find out how the entire operation works, but such understanding is only a natural consequence.
WU was born in 1992 in Taipei, he obtained his Master of Fine Arts degree from Taipei National University of the Arts in Taipei, Taiwan and studied project arts, film and new media during the semester exchange at Merz Akademie in Stuttgart, Germany. WU uses multiple media, including projection installation, video, performance and painting, to process the relationship between body, object, machine and space. He presents the re-disposition and reflection of the power relationship in objecthood under the influence of his life experience, shaping a state of uncertainty that is both classical and ill. WU has exhibited internationally including solo exhibitions at Haiton Art Center, Taipei (2020), as well as group exhibitions at the Aki Gallery, Taipei (2022), Kuandu Museum of Fine Arts, Taipei (2020), Xiangshan Art Space, Hangzhou (2019), Merz Space, Stuttgart (2019), Taipei Digital Art Center, Taipei (2018). Awards and recognitions include the 10th New York Travel Program, New York (2018), Gihak ArtLab Art Creative Project, Hualien (2020) and the 3rd Contemporary Sculpture Lih Pao Prize, Taipei (2020).