DECOMMISSION
Allen Yi Lin Chen
See it On Campus: Level 2
Visitor Info
Decommission, 2022. Archival Inkjet Print, 63″ x 42″
Decommission began with the intention to capture the rapidly changing world around us, from the housing development within the city to street maintenance and upgrades, the wastes are often left on the sites abandoned. Decommission is meant to capture the essence of that familiarity changing over time.
Decommission, 2022
It is not till we slow down to take a look at what surrounds us, we realize all we have lost during our progression.
Decommission, 2022
Decommission, 2022
The concept of the series came to me when I saw the title of the film Short Peace (2014) by Otomo Katsuhiro of the same year. Though I have never seen the film itself, the term sunk within me and I ponder. Whenever something that is familiar to me becomes lost. Either the shops or restaurants I used to visit as a child have closed down, or the old abandoned car parked out on the street has been sent to the scrapyard. Decommission is my attempt at capturing rapid changing reality for the world to see.
Decommission, 2022
HONDA
HONDA, 2021
The series Honda, named after the renowned Japanese automaker Honda motors, is a black and white series of photographic work exploring the sculptural qualities of objects. The inspiration originally came from the sculptural qualities that automobile photography shares with fine art sculptures, and the idea of the “incompleteness” stage of assembling but never fully revealing the object as a complete form. Exploring the idea of the making and progress through photographing experiences, I aim to express my passion and dedication towards the object and photographic imagery.
HONDA, 2021
Being born in Taiwan, a place known for its massive moped culture, I have always found myself being surrounded and attracted towards these commuter car substitutes. I have developed a similar attraction to photography for the same reason, as cameras were constantly surrounding me, unaware of the meaning and values of both photographic images and automotive culture would create in my life.
Although a series of objects, I view Honda as a self-portrait since the work stems from the realization of the importance of the two most meaningful things I have grown to know today, photography and automobiles.
