Ordinary Contradictions

1. Feedback (step by step)(2022)
Mechanical scales, rubber ramps
(W)240 x (D)420 x (H)6.5cm
Each scale: (W)30 x (D)30 x (H)6.5cm
Exhibition: ‘Absent minded’, TKG+, Taipei
Image courtesy of TKG+
Photo credit: Chong Kok Yew

2. Subdivision (2021)
Single channel video, HD, no sound
24min 50sec, looped

3.
Up: Green Lights (2024)
Spirit level, LED light panel, acrylic box, stainless steel profile
Each light: (W)120.4 x (D)30.2 x (H)9.5cm, 6 in total

Down: Red Carpet (2024)
Sand surface anti-slip tapes, PVC anti-slip bar
(W)538 x (D)985, dimension variable
Exhibition: ‘The 25-Hour Days’’, curated by Lin Yu-Hsuan and Huang Yu-Jie, Keelung Museum of Art
Photo credit: Eason Tsang



The use of ordinary objects in contemporary artistic creation is not a novel concept; they often appear as symbols of consumption, history, society, and personal emotions. The research and practice primarily focus on how these ordinary objects can be misplaced and subtracted to constitute contradictory forms in art creation to counteract the mentioned states. By tracing how avant-garde art incorporated ready-made objects to challenge the overall creative language and aesthetic systems of the time, we can compare this to contemporary art, where ready-made objects have been assimilated into a ‘legitimate language’. This study raises the question of whether this secular medium still has the potential for segmentation and variation.