I-CHUN CHENG

鄭 亦君



BamBoo

2023

Hundreds of Bamboo Nodes, 2 pieces
(L300 x W5 x H50cm/ L200 x W5 x H50cm),
Heart Rate Sensor,
Interactive Sound Installation


For the bamboo joint installation, I used almost an entire cluster of bamboo. I removed the hollow parts of the bamboo, leaving only hundreds of bamboo joints, which I then adhered together to form two long bamboo poles. These poles measure two meters and three meters in length and are presented horizontally. In the physical world, bamboo is compressed and reorganized into two long poles, viewed through a pixelated lens.
The heart rate sensor sound installation allows viewers to wear a sensor device that translates their real-time heart rate data into pitch, while simultaneously hearing recordings I made inside the hollow parts of the bamboo. 



Soundhttps://drive.google.com/file/d/19hyrT61Oa7kXMkceebwR7OagAHCErHZS/view?usp=drive_link



The Sedimentatiom of Events

2025

131x75x1cm, 12 pieces
Xuan Paper, Inkjet Ink


This work presents a visual state nearing collapse due to imagery oversaturation. I use “Erasure by Accumulation” to mirror natural debris flows—where excessive matterburies all traces of existence.



Border of Winter Monsoon

2023

Beak-shaped candy,6×5×4 cm（edible candy）Rock sugar crystals (≥99.7 °Z),
２video installations(2')(4'22'')


During Taiwan’s sugar production season from December to April, the northeast monsoon prevails. The diffusion of sugar in the air becomes a form of human territorial expansion, as well as a transmission of information. The refined sweetness carried by the northeast monsoon is dispersed far and wide, breaking down into smaller sensory units that permeate mountains, oceans, and cross territories, even being experienced by various species. Here, the northeast monsoon serves as the boundary of historical transportation, and the spreading sweetness is encountered by species beyond humans. This encounter with other species nullifies human history. Animals cannot grasp the territorial implications of sweetness, nor can they comprehend the addictive allure it holds. As such, the path of the northeast monsoon, along with its endpoint, becomes the end of sweetness, the end of the message, and the end of human history.

This idea of “limitation” is central to the work. Sugarcane is harvested in the winter, which coincides with the season of the northeast monsoon. These natural cycles, interwoven by the Earth's ecological rhythms, create a once-a-year phenomenon that I perceive as a “seasonal event.” Each winter, this event returns, and as the northeast monsoon spreads across the land, it becomes an occurrence without history. I am intrigued by the idea of crafting a celebration that has no history but reoccurs annually with the changing seasons.






Napoleon Crossing the Alps

2023

Ready-made from Yingge/ 12x6.5x23cm
Ceramic installation/ 47x45x75cm
Wooden pallet/ 80x80x75cm
Video/ 1’ loop, no sound
Interlocking floor mat/ 250x360x8cm


I take Taiwan-exported decorative ceramics titled Napoleon Crossing the Alps as the starting point for this work. The "Alps" in quotation marks refer to the undefined form of the support structure beneath the horse’s hooves. This ceramic piece was designed by a modeler in Taiwan’s ceramic industry in the late 20th century. It depicts Napoleon on horseback, but due to the horse's front legs being lifted mid-air and the overall imbalance of the sculpture, the designer faced the challenge of overcoming the fragility of ceramics during the molding process. As a solution, they created a functional yet awkwardly shaped support structure to stabilize the ceramic piece. When the ceramic horse cannot perfectly capture the heroic leap as portrayed in the painting, there is an unavoidable sense of humor and awkwardness stemming from material limitations, technology of the time, labor, and the goal of mass production. The support structure, almost resembling "a shape of nothingness," is unrecognizable by itself. We can only borrow the name of the "Alps" from the original 1801 oil painting Napoleon Crossing the Alps to conceptually validate it, much like sticking a label on it. Thus, I repeatedly present this prototype throughout the work.


Morning Drama. Asadora

2021

video(15’)
3 audio pieces(Each has a different duration and plays in a loop.)


As of 2024, there have been 113 Asadora morning dramas in Japan. Asadora largely adheres to a set framework: the main character is typically based on a real-life woman, the narrative is set against the backdrop of 20th-century wartime and post-war Japan, it fosters a positive atmosphere, and it follows a fixed broadcasting schedule (7 AM to 8 AM, with each episode lasting 15 minutes). These elements have become hallmarks of Asadora, and after over a hundred iterations, this formula has evolved into a kind of template. Whether depicting optimistic emotions or recreating air raid scenes, these themes are repeated over and over.

I collected the soundscape of bamboo groves surrounding the Wushantou Reservoir in Tainan, and during the process of listening to the audio files, my senses were intensely stimulated, forcefully evoking the memories of WWII air raid sounds repeatedly depicted in Asadora.
I-Chun CHENG
Born in Taiwan, 1992
Contact/ ichuncheng233@gmail.com



Educations

2025  Tainan National University of the Arts, Plastic Arts, M.F.A, Tainan, Taiwan
2019  École supérieure d'art et de design TALM-Le Mans, D.N.A., Le Mans, France
2014  Tunghai University, B.F.A., Taichung, Taiwan 


Expositions (selected)

2026    IMPRESSIONS OF NATURE: PAPER AS MEMORY, IAPMA Paper Art Biennale 2026',
        KunstCentret Silkeborg Bad, Silkeborg, Denmark
2023    Object: Hollow and Cross-section, Yao Space, Taichung, Taiwan (Solo)
2023    FLAME Video art Fair, Check inn Taipei XinYi, Taipei, Taiwan
2023    4S0BI, Tunghai University Art Gallery, Taichung, Taiwan
2023    Don't BeMO, Tunghai University Art Gallery, Taichung, Taiwan
2022    (In)Voluntary Health Management, Visual Arts Space, Tainan, Taiwan
2021    When CORONA was Just Beer, Visual Arts Space, Tainan, Taiwan
2019    Taiwan Annual - Fishery for Football field of Zhongshan,
        Haiton Art Center, Taipei, Taiwan
2019    Exhibition of TALM-Le Mans Art Graduates, Le Mans, France
2014    Hi! Tweens, Seaport Art Center, Taichung, Taiwan
2014    Island,  No.43 Art Space, Taichung, Taiwan
2013    Oh, Oh Hi You, FangHua Art Space, Taichung, Taiwan