陳品陶 Chen Pin Tao

b. OCT 1994 Greenwich, Sydney, AU




Descendent of an esteemed violin maker and hailing from a lineage of master craftsmen, Tao's refined objects and assemblages contain immense exotic, ethereal, and incorporeal allure, embedded within their exuberant complexity and virtuosity unraveling between both folk traditions and technological acceleration.  These objects are means to excavate alienated ancestral history through deep introspection, and are tools to overcome humanity's inability to comprehend and preserve the sublime.

Reality is stranger than fiction.  Tao’s primary interest resides in the exploitation of the splits in reality, and the examination of object-oriented fetishism. In an accelerated and trance-like state induced by the fissures between contemporaneity, metaphysics, spirituality, and their metamorphosis, decadence, intense desires and asceticism, Tao creates ecstatic realities––or worlds––through the alchemy of objects and architecture, expanding the already rich ontological vocabulary of Chinese materialism.

Tao’s worlding devices (portals, thresholds, gargoyles) are means to manipulate objects bridging through the virtual (noumena) and reality (phenomena), allowing the qualia of objects to be extracted, mutually exhausted, and elevated. The language and ecological logic of these realities avoid conventional phenomenological grasp, producing semiotic slippage and inhabiting a withdrawn potentiality of space, object and imagery.

These spatial and symbolic dimensions are not merely vessels encapsulating entropic qualities, but individual ontological beings, complex enough to seek release from an established organization, to determine and generate a multiplicity of their own worlds, and to manifest further enlivenment and cosmology, across volumetric, visceral, and physical scales. With the given structure of deeply ordered chaos, infinte malleability, permanence, impermanence, destruction, and rebirth, these worlds contain infinite transformative potential.