在羅馬神話中，維納斯（Venus）女神執掌著人類的愛情婚姻和生育以及一切動植物的生長和繁殖。也是西方藝術史女性題材藝術品的典範，柏拉圖在《會飲篇》對維納斯的闡釋說道：「天上的維納斯是神聖的、理念的和精神的美的象徵；人間的維納斯則是世俗的、感性的和官能的美的象徵。」
而在兩萬多年前的舊石器時代，《維綸多夫的維納斯》是人類雕塑歷史上最早的人體圓雕傑作之一。其象徵的是生育能力，誇張的手法表現了古代人們希望繁殖多產、人丁興旺的思想，是原始社會生殖崇拜的一種體現。維納斯的形象在在都反映出人類對美的一種追求和表現，照應著各個時代下人對美、對欲望、對女性的看法。自維納斯的誕生起，似乎就是一個矛盾而複雜的母體。 我以自身的母體形象為基礎，交棒給蜜蜂一同與我塑造的造形為題，持續發展並加以變形。母體與蜂巢都是孕育生命的場域；母體內的子宮是人類第一個住所，麻雀雖小五臟俱全，它雖然樸質但卻比任何一座建築都高級，能隨著居住者的需求而變化，讓新生命受到層層的保護，胎兒在子宮中發育，依靠胎盤從母體取得營養，彼此相互依存但雙方又能保持相當的獨立性。
蜜蜂則是自然界中偉大的建築師，牠們會建造封閉性極強的蜂巢來作為居住以及繁殖後代的地方，同時也能作為儲存蜂蜜、花粉等食物的收藏空間。而這兩個為孕育後代的載體皆是如此神聖的裝置與存在！
外在世界面臨全球化，講求效率、高速的當代社會飛速前進，這十個月的孕期相對顯得奢侈漫長，懷孕過程像是一種超脫現實、深層甚至神祕的狀態，那種溫暖、輕緩、優雅卻又帶點憂慮、不安、不確定性的歷程，讓我深覺自然造化與人類想像力是可以交融相通的，也讓我興起探索人、藝術與自然之間關係的企圖。
新生兒自落地以來，即靠著本能或學習，因著環境的基本樣態發展出不同的個性 或能力。而在此作品中，我亦給予蜜蜂一個經過設定的現有環境，也就是以我不同期程懷胎的身體為型的雕塑，在我的想像中，這機能性高且精密的母體結構就猶如人類外在世界的現狀，然而將一群蜜蜂引入其中生活，就彷彿在經過妊娠後將胎兒產下，無論是新生兒或蜂群都將隨著時間，從觀察、摸索、順應、模仿、複製，逐漸能適應這個嶄新的環境，進而去改變、去創造那個誰也無法預知的未來。
座落於母體之上的是現代化高度密集的工廠造形，密密麻麻的高科技電子零件攀附其間，宛如一個世界工廠的微縮模型遺址，從數位時代跨入智慧時代，不斷地拓展創新的可能。暗諷著人類舉著先進科技技術的大旗，引領著蜜蜂群體朝向象徵文明嶄新的世界邁進，企圖深化與滲透自然生物對於科技的需求。此超現實的想像，希望藉此暗示出科技文明當道對於自然與環境所帶來的隱憂，娓娓道出科技文明的美麗與哀愁。

In Roman mythology, Venus, the goddess of love, marriage, and reproduction, controls the growth and fertility of humans and all living beings. In western art history, she stands as the paragon in countless theses concerning women. In “The Symposium,” Plato stated that the Venus in heaven is a symbol of the sacred, spiritual, and ideal sense of beauty, whereas the Venus on earth stands as a symbol of beauty that is profane, emotional, and sensual.
More than twenty thousand years ago in the Paleolithic Age, Venus of Willendorf, the earliest human statue in the record of the history of sculpture in the round, was created. As a symbol of fertility, the exaggerated manner of expression portrays the ancient society’s hope for thriving harvests and population, and directs to a form of fertility worship in certain primitive societies. Again and again, the image of Venus has reflected the human pursuit of beauty. The various art expressions not only reveal the perceptions of which an era held towards beauty, but also towards sexual desires and women. Ever since the birth of Venus, the figure has inevitably led towards a complex and paradoxical motif.
With my own maternal body as the foundation of the artwork, I passed the torch on to the bees, who serve as co-creators to expand and mutate the piece. Both the maternal body and hives are places that nurture life. The uterus is a human’s first abode, small, but complete in every way. In its simplicity, its function outshines all high-end architectures in the world. It not only mutates according to its dweller’s need, but also protects a new life with layers of protections. In a uterus, a fetus grows with nutrients from the placenta. Though interdependent, the fetus and placenta remain relatively independent regardless of their tight connection.
Bees are great architects in nature. They build highly encapsulated hives to live in and to reproduce their offsprings. At the same time, hives are also where they store food including honey and pollen. Both the uterus and the hive are sacred installations and carriers that bear the mission of nurturing offspring.
With the impact of globalization, the external world has been focusing on efficiency and the things that propel the contemporary world at high speed. Ten months of pregnancy is almost a luxury with its lengthy duration. The pregnancy process is nearly surreal, profound, and mystic. The journey that is heartwarming, slow, and elegant, is also filled with worries, anxieties, and uncertainty. This brought together the human imagination and nature side of me. From there, I started the idea of exploring the relationship between human, art, and nature.
From the moment a baby is born, personality and capability slowly tag along through instincts and learning under the conditions given in an environment. In this artwork, I gave the bees a set of given environments, which I sculpted according to different stages of pregnancy. In my imagination, this highly functional and delicate maternal body structure is like the status quo of the outside world. Putting the bees in there to live is almost like setting them in a pregnancy process all the way to delivery. Both human babies and bees will adapt to this brand new environment as time goes by. Through observation, exploration, adaptation, imitation, and duplication, life forms not only fit in, but also change and create a future that no one can foresee.
On top of the maternal body is a model of a highly concentrated modern factory covered by countless high-tech digital components. It is like a micro model of a world factory in ruin. From the digital age to the age of AI, the possibility for innovation keeps expanding. As the bees swarm into the brand new world, a symbol of modern civilization, it is mere irony for humans to flag their advanced technology with the attempt to infiltrate and deepen the need of technology in nature. By unfolding the beauty and sadness of a technological civilization through the surreal imagination, there lies a hope to point out the impact a high-tech world has on the harmony of nature.