According to Revelation from the Bible, it was indicated that during the Great Tribulation, anyone from any tribe or country marked with beast number “666” on the forehead and right hand are not capable of escaping from the evil beast’s control. In Lin Pey-Chwen’s year 2011 solo exhibit, “Eve Clone Series”, she virtualizes a human and beast digital figure named “Eve Clone” marked with number 666. The figure serves as a metaphor to natural disasters caused by the endless progress of science and technology
The work “Portrait of Eve Clone” will be presented in 3D hologram format framed in acrylic board. On the forehead of Eve Clone, the beast number 666 is marked in Chinese, Arabic, Egyptian, and etc. Through the frame, Eve Clone looks like a specimen, however, when people comes closer and walks around her, her eyes would follow their direction which makes Eve look alive. The artist would like to expose the tension between Organic Nature and Inorganic Technology through this work.
The Bible not only states that the beast number would be marked on the forehead but also on the right hand. So, the artist presents a sculpture “The Hands of Eve Clone” and stores it in a medical glass container, allowing it to look like a formaldehyde specimen located in a chemistry lab.
The other project, an interactive installation, “Eve Clone No. 3”, is presented in six huge images on a hexagon installation. The faces of Eve Clone looks like she is floating in water and as audience passes by, her face and eyes will follow the direction of the audience. When people walks around the installation, the surrounding and environment turns out to be a mysterious communication between Eve and the audience. The artist hopes to stimulate people to be aware of the consequences from high technology development and behind every temporary fantasy, there lies a hidden crisis.