陳品陶 Chen Pin Tao

b. OCT 1994 Greenwich, Sydney, AU




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

Tao’s primary interest resides in examination of object-oriented fetishism, developed through spiritual anarchism, shamanism, naturalism, and Yin Yang duality of forces. In an accelerated and trance-like state induced by the fissures between Sino-contemporaneity, cosmology, spirituality, and their metamorphosis and decadence, 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 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logic of these realities avoid conventional phenomenological grasp, producing semiotic slippage and inhabiting a withdrawn potentiality of space, object and imagery.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. With the given structure of deeply ordered chaos and engineered rebirth, these worlds contain infinite transformative potential.