The “Iron Man” series has been the research direction of my personal creative journey over the past decade, as well as the most iconic collections of my metal expressions.

The sculptural practice site derived from the image of “Iron Man” is where sculptural thinking of varying and changing sizes and images, duplication and differentiation, clustering or layering, and multiplication and proliferation, the nondistinctive appearances of “Iron Man” created using iron and steel as materials, and the image of “Iron Man” that emphasizes force and strength, continue to evolve and transform through a series of collections: Linear Iron Man, Scrap Iron Man, Iron Man Transformation, Colorful Iron Man, Altered Land, Altered Territory, Iron Man Ascension, and Iron Man Fossil. Each of these collections showcases different roles and contents, such as the meaning of art to existence; the various victorious gestures of resistance are the exercising of will and intention, triggering people to contemplate on the forms of individual lives, and another kind of potential of reversal through the transitioning and changing of different space-time. Thus, I have developed “Steel Romance” through contextualizing my personal artistic thinking. These inclusive artistic experiments respond to industrial development and modern civilization through both macroscopic and microscopic perspectives, and contemplate on the current status of the existences of nature, universe and mankind.

The “Iron Man” in “Steel Romance” perhaps no longer refers to the established notion of metal sculpture—is it not also an individual’s rational longing for the future development of industry, technology, and civilization? The vessel made of flesh for the projection of divine consciousness? Embodiment of the implication of emptiness? Or the on-going fable of the uncertain status of the universe?

Spirit of Place – Origin of Iron Man

The origin of “Iron Man” can be traced back to my two stints as artist in residence at Tung Ho Steel Miaoli Works in 2009 and 2013, where I created steel sculptures. The two residencies added up to eight months, allowing me to delve into the research and exploration of the topic of “Iron Man” in greater depth.

Tung Ho Steel Miaoli Works is a steelworks of heavy industry that recycles metals. The plant has established own procedures of materials, facilities, management, and production, for the manufacturing of industrial building materials and products. The vast and magnificent plant puts powerful tempo of speed and efficiency on display: a grand force of the ecological cycle of steel and iron. Giant machines produce loud noises when operating, and furnaces smelt recycled scraps again; when the materials are heated at high temperatures, they spark a scene full of the interface force of fluctuating heat, which changes the shapes of the materials and melts them into scorching liquid steel to be poured into specified molds to manufacture various steel building materials. Another section of the plant is the storage of recycled steel scraps: I am also profoundly fascinated by this place formed by mountains of steel scraps, which have stunning quantities and volumes. These recycled steel scraps from different countries and regions of the world are produced in different eras and have different shapes; they are torn, twisted, or bombarded, randomly forming a vast landscape of steel. There is another open space in the scrap yard where pieces of “slag,” scrap steel left behind at the bottom of furnace from the process of steelmaking, are placed. Slag exhibits a coagulated state of the primary ambiguity of fluid materials, which I find truly stunning. Perhaps these mountains of endless scraps are evidences of the law of conservation of matter; or, they are a series of industrial archaeological sites of piles of leftover, unwanted scrap steel and rusty iron.

Steelworks is the production base of the development of industrial civilization, and the origin of men’s construction of a world of steel. Venturing deep into the steelworks is a thrilling and shocking experience, as if I were in a sci-fi movie; moreover, there seems to exist an invisible driving force of the era. The physical perceptions and situation of the place forged by such unique background, and its unique atmosphere, resemble what Chun-lan Liu mentions in the catalogue of “EXtraordinary Relation 1.0”¹: the artistic aura of industrial plant. This allows me to reconsider the context and subordination of the overall environment. The various messages that exist in the steelworks are the basis that nurtures “Iron Man,” and they naturally become what inspire and converse with my creative works. Thus, the topics I am concerned with are: how to continue my work when thrown into a totally new environmental ambience? How to explain the environment mankind is in at the moment? How to utilize metal expressions to convey the ideal world men desire to construct after the Industrial Revolution?

Iron Man

It is a kind of summarizing depiction of real images. Such confident conveyance through physical language is the emotional reflection of men’s positive energy. Basically, “Iron Man” extracts the physical image of a muscular and fit man; the seemingly “glorious” gestures are also derived meaning that embodies ideal and perfection, emphasizing that the physical shape is unmatched. Naming it “Iron Man” is also a response to an alternative view on the hermeneutic meaning of a muscular and fit man: Mr. Fitness is an aspect of kitsch, a cultural product of the development of urban civilization after the Industrial Revolution. It shows off the physical fitness and power of the human body, where the physical features are manifested through the gesture—arms in the air, steady feet, firm muscles, perfect proportion, and statue-like physique, the developed muscles and tightened skin; the image is exaggerated and full of powerful dynamics. As for the meaning shift of “Iron Man,” it also incorporates the Buddhist idea of “Body of Indestructible Diamond”—the body of someone who has achieved enlightenment, which has become a physical vessel of the Dharma with great powers. This name also makes references to marital art novels, myths, sci-fi movies, or animations, and means invincibility, expressing the messages of confidence and glory.

“Iron Man” is incarnation of steel. The symbol of “Iron Man” is hidden in the form of silhouette that has been fused and converted; it is the epitome of reality and spirituality, the discourse on the realization of the “ideal and perfect body” of industrial civilization, and the emotion of conveying a utopia: “Iron Man” uses steel as the expressive substrate of temporal interpretation, rather than the reason of existence of the concrete depiction for representation, nor the things that indicate a certain event. It is the “body-double” of an “absent” referent, as well as the conceptual conversion of material. Furthermore, through construction of spiritual totem, it builds a kind of formal construct that transcends materiality, in order to topple the format and content of the objects that may become new totems in a cultural scope through the encounter with a specific kind of space-time.

“Iron Man” is incarnation of steel. The symbol of “Iron Man” is hidden in the form of silhouette that has been fused and converted; it is the epitome of reality and spirituality, the discourse on the realization of the “ideal and perfect body” of industrial civilization, and the emotion of conveying a utopia: “Iron Man” uses steel as the expressive substrate of temporal interpretation, rather than the reason of existence of the concrete depiction for representation, nor the things that indicate a certain event. It is the “body-double” of an “absent” referent, as well as the conceptual conversion of material. Furthermore, through construction of spiritual totem, it builds a kind of formal construct that transcends materiality, in order to topple the format and content of the objects that may become new totems in a cultural scope through the encounter with a specific kind of space-time.

The process of “Iron Man’s” unlimited transformation has inadvertently launched screening and judgement of my personal aesthetic experience within the production site of different flows of time, becoming the new level of unknown territory explored by the works of “Iron Man.” Then, how does the image of “Iron Man” wander through different systems of space-time to showcase its forms and gestures?

Time Field

In the exhibition catalogue of the “New Realists,” Pierre Restany writes: “In Europe, as well as in the United States, we are finding new directions in nature, for contemporary nature is mechanical, industrial, and flooded with advertisement…The reality of everyday life has now become the factory and the city. Born under the twin signs of standardization and efficiency, extroversion is the rule of the New World.” Thus, the sceneries in our mind today are no longer landscape; in fact, they have long become city-scape.² These words indicate clearly that advancement of industrial technology has changed global lifestyle; the production mechanism of factory has changed, where manual labor has been replaced by machines. The standardized and unified structure of mass production has progressed at a rapid speed, accelerating the development of human civilization. In today’s world, contemporary industrial civilization is equipped with tremendous technological power, tools, instruments, manufacturing technology, and many more; these are the features of one singular culture, where a world of mechanical manufacturing has replaced the nature of human activities in the past. This setting of industrial operation has already become popular in real life, and this kind of world projects fantasies at a blazing speed and a frequency that goes beyond the essence of the natural world.

All outcomes have their causes, and must be examined under specific social situation and context for them to have greater interpretive power. With the ever-changing development of modern industrial technology, technological inventions and mechanical production model have emerged today to create a new temporal milestone. Especially with the rapid industrialization, the society has gone through tremendous changes unseen before, which also have changed the society’s economic organization, further altering the lives and cultures of mankind. Mechanical industrial development has also accelerated the process of urbanization. In other words, the instrumental rationality of science, unprecedented development of economy, as well as permeation of industrial culture, have displayed the diversity and differences of cultural values. Although at the beginning of mechanical industrialization, its conflicts and collisions with the essential qualities of society and culture created some myths for a brief period of time, which overthrew our negation and alteration of traditional values, social systems will always display a socialized convention, and act as neutral mediators. They follow deduced logics, and through the process of development, they gradually give rise to a new kind of structural site—that is, through the process of social development, the emergence of controversial events will always be accompanied by the opposition between conservative traditions and innovative civilization; however, also through this process, the two opposite sides will gradually overcome differences and converge. Just like the beginning of capitalist industrialization, which opposed the creative origin of art. A certain powerful evidence exists in the relation between the two, and creativity has explored new meanings through these interwoven and opposing factors in the past. People, more or less, have unconsciously been engaged in the reproduction of culture, and led the mass public to carry out reflective practices; just like modernism, an aesthetic system of an era that has drawn various different creations into a singular artistic domain. Therefore, the modernist movement is the cultural fruit bore through this conflict and war between the rational models of mechanical industrial duplication and organizational merchandise consumption.

Thus, new cultural phenomena facilitate the formation of the mechanism of cultural renewal, giving rise to new anchor point of the spirit of cultural form. First, we must establish new understanding and raise a basic question regarding our social and temporal backgrounds: just like the full emergence of the rules of “technological application” and “production process,” in the particular background of modern industrialization, production model’s structure includes mechanisms of production, product, and consumption. Therefore, consumption has become mankind’s highly sensible spiritual need; especially, when placed in the social situation of specific urban structure, this phenomenon is the inevitable path of mechanisms, such as mass duplication of industrial mechanical production, where new products are launched rapidly, supplies are greater than demands, and prices become affordable. This obviously reveals the obscurity of objectified situation, which mirrors and reflects the production and consumption of the civilized world. As written by MarX in his 1844 manuscript: “It is just in his work upon the objective world, therefore, that man really proves himself to be a species-being. This production is his active species-life. Through this production, nature appears as his work and his reality. The object of labor is, therefore, the objectification of man’s species- life: for he duplicates himself not only, as in consciousness, intellectually, but also actively, in reality, and therefore he sees himself in a world that he has created.”³ It proves the compression of time and space at this very moment, where the production of objects of the industrial civilization of consumption resembles the Internet economy, resulting in rapid innovation of objects and accelerating replacement of the old. The abundance and excess of objects have changed the human world, and these objects of tremendous quantity simultaneously exist in life and possess a double-meaning. In this era of material abundance, should we reconsider the relation between the meanings of reality and existence? Bear in mind that the rapidly growing curve of the modernist movement up to this point is the very cultural outcome exhibited by such mechanical industry.

As described above, the penetrating relation deduced by “Iron Man” exists in the artistic journey I have embarked on, attempting to emphasize that the nature of things is established within the environment through the complicated situations given rise by the environment of modern civilization. Material existence is also continuously changing. Personal subjectivity and aggregated subconsciousness are subordinates of the historical objectivity of environmental mechanism. Especially, the society changes rapidly in an industrial structure, and artificial environment is ordinarily organized within objective and material-oriented linear activities. It has seemingly become another kind of iconic indicator that symbolizes the spirit of contemporary life and the civilized world, and art creation has always been suitable to create this kind of spatial principles. Thus, how to explore the ecological mechanism produced by industrial and technological civilization and aesthetic display of art creation? How to place works into a comprehensive background for dialogue within this world full of icons, and explore different perspectives, ultimately forming causes of different creative forms? How to further manifest scalable language in contemporary art through these temporal situations of technology? All these questions will be responded through my works in the “Iron Man” series.

Industrial Production – Plurality and Difference

In the era of industrial machines, the language of art forms has taken on a new look in response to technology of duplication and thus attracted greater attention. In other words, duplicating artworks through mechanical means has become an inevitable trend of expression. The emphasis here is: change of conditions of production has made the “quantitative” lingual conveyance of industrial mechanical duplication the symbol of life that is the inevitable fact in this era.

As we have entered the 21th century, the technology of mechanical duplication has reached maturity, and duplication has responded to the continued evolution of art forms. These forms have become the temporal marks of the power of modern technology in the consistent speed of automated mass-production. When it comes to industrial steel materials, the emphasis is for mechanically mass-produced specified steel products to manifest the sturdy and homogenous structures of such industrial convention, which have become the unique features of urban architectural landscape, highlighting the vocabularies of this era and expanding the vision and content of artistic expressions. Therefore, as the substrate of interpretation, how can the method of duplication (plurality) present rational existence for the concept of duplication (plurality), and express the spiritual value that belongs to modern culture?

In the expression of modern sculpture, utilizing molds to duplicate creative works is also an important topic in modern art. The conversion of image through the process of molding aims for precise duplication in order to achieve the effect of quantitative clustering and piling. Its purpose is to enhance quality through quantity for collective construct. I often utilized this creative model for my past works, and I have taken the proposition to another level: through the quantification process, I try to recreate and convert the standardized units into new units, as I search for differences between each individual units and achieve the meaning discourse of formal differences of duplication. This creative method, rather than development of organic formal language of duplicated creative trend, is means to convert symbiotic logics of certain interpretive state within the homogeneous construct of the works. The works consolidate an expression of the plural world at this moment.

“Iron Man” is incarnation of steel and iron. Its characteristics of duplicated language in response to industrial production is the enhancement of the technology of mass production and duplication; machines have also been innovated and reinvented to accelerate the quantitative performances of production capacity. “Iron Man” has become the impression of my personal creative element through duplication of steel plates, recurring through various specified sizes. Through the unique procedure and process of laser cutting, “Iron Man” can rapidly showcase the characteristics of quantitative production resembling proliferation within a short period of time, responding to the model of specified products of industrial production, and waiting to be properly utilized. These quantified “Iron Men” of different sizes, thicknesses, and weights, are processed again through flame and fire, creating different twists and expressions, and differences in forms. Large-scale “Iron Man” sculptures resemble monuments, whereas smaller ones resemble all beings, which all have expressions of own subjectivity, waiting to enter different temporal and spatial backgrounds to play their respective roles.

Objectivity of Steel and Dynamism of Instrument

The development of industry and technology is more of a scientific and rational model of utilization, a phenomenon of the state of specialization. Vladimir Tatline (1885 -1953) emphasized a kind of material culture. He explored spatial construct, conducting research on the materials based on themselves to discover the potential energy of aesthetics, physics, and function, possessed by these materials. Specially, industrial materials, such as specified steel products mass-produced by automated machines, have exhibited homogeneous and sturdy structures. Furthermore, in addition to creating works using steel we are familiar with, metal materials as the development foundation of art creation also include readymade, found objects, industrial mechanical parts, metal scraps…and all these can be used as creative materials.

However, to me, I always focus on an organic site for creation. Material structure has own physical organization, effects, and characteristics. In addition to being heavy, hard, and sturdy, steel has rough texture and flexibility. The surface is dark, dry, and has a brownish hue, and due to humidity and acidity of natural environment and climate, erosion will spread inward from the surface. The process displays the changes of unstable physical properties of the oXidization of iron rust, presenting the flowing temporal factor of how matters are created on the surface of works; through fluctuating material reactions and changes, forms of objects become interwoven in space to enhance the identity of the objectivity of materials.

In my works of the “Iron Man” series, sometimes I obey the original organic body of the material: for example, I utilize the shapes of metal objects or readymade objects. These forms are mass-produced by automated machines at consistent speed, becoming temporal marks of modern technological power; sometimes I try to sabotage the original functional context of these materials, such as deconstructing and reducing the objects through high-temperature heat or electric instruments to return them to their original organic states, creating a unique anxiety of the understanding of the original objects. The scrap yard located in Tung Ho Steel Miaoli Works is full of piles of pieces of “slag;” these suddenly consolidated pieces of flowing liquid steel manifest an original material state of ambiguity, making them that much more startling. In general, the works exude an organic mysterious vibe, or imply the ambiguity of the material, to achieve a certain kind of transcendence from the real world, enhancing the projection of own meaning.

“Iron Man” is the incarnation of steel, taking on the appearance of silhouette. This kind of thick and planar “Iron Man” manifests through the lines mechanically converted images of industrial production. This shows the utilization of the state of specialization. Also, in response to the enhancement of technology, many types of instruments have been created to demonstrate different functionalities, revealing a rather complex coordination of the operation of industrial instruments and procedures of processing. In other words, the unique languages of various types of “Iron Man” are the results created by different instruments. Also, other than scrap “Iron Man” sculptures, which are made by assembling and welding objects together, most the other sculptures are made mainly of steel plates; therefore, the cutting tools, such as the raw power of flame cutting and precision and delicacy of laser cutting, are of vital importance. At the moment when high-temperature heat softens the material, shapes are formed by hand-twisting the materials, or created through melting by flame. Through the process of welding, the molten state of metal or the state of heat conduction on the surface of material lead to qualitative changes of metal that display texture with powerful visual tensions. This powerful heat melts hard steel, giving its surface lava-like texture, disclosing the original form of the material construct, and highlighting the organic objectified language of the material. These unique qualities of languages of the expressed interface of various operations of instruments display different powerful looks of interfaces, allowing the true objectivity of the material to transcend the translation of reenacted images and control of rationality, liberating the hidden inner qualities and material images: a direct narration of real physics at the moment, where works can expand from concept and content through the catalyzation of these instruments and media, allowing “Iron Man” to roam between properties of light and heavy, hard and soft, real and virtual, while also enhancing the pure physical aesthetics of steel.

Pursuit of Procedural Situation

Our body is an organism that moves and has energy. Its consciousness gives rise to intentions and actions, which construct the situational content of actual process of activities, allowing men to create concrete meaning of existence through the process of operation and laboring.

Therefore, the exploration of form in the production process, responding to the characteristics of the material itself and the kinetic energy generated by instruments, is a self-disciplinary behavior based on the potential expression of existentiality: a movement phenomenon of morphological extension and variation, and a flowing phenomenon of time that gradually takes shape, bringing the creator into the inner and outer layers of the formal structure to create a model of structural process. The process accidentally gives rise to unexpected qualities, which the artist has also sensitively taken a step further to inject random descriptions, making the creative process more sensible, and more freely guiding rationality to pursue the perceptions of subject. Sometimes it conflicts or criticizes the rules of original ideas, but also offers different variations and options, giving diverse paths to forms for adjustments or reconstruction. This sign is actually the concept of signal generated through the physical process of objects, which enters a sensual perception. This procedurality is without thinking and has an automatic nature, and the random capture of this kind of accidental process of changes is not just from fantasy or dream, but from thinking triggered by the real qualities that take into considerations of the specific situation at the moment to offer another cognitive world of imagination. This is the catalyzation of personalized sensitive qualities and relative discharge of accumulated knowledge and experience.

Thus, personal perceptions are often in this situation, intrigued by the joyous expressions constructed at moments of full indulgence: an immeasurable dynamic power converts hard structures of the material into another form and look, especially the layered texture created by melting and welding, where the derived image is captured to suggest a troubled and nervous anxiety, within which the possible organic images of the works hidden in different layers are probed and excavated. However, on the layers of the veil of ambiguity this kind of sensible logics operates on, segments of various forms appear and project in a corresponding relationship; they become the behavioral means of decoding the works and give rise to an irreducible accumulation process of the structure, offering aesthetic thinking a basis of judgement through comparison and refinement.

This procedural situation and the potentiality of works’ energy also suggest the “instrumentalized operation model” of the dynamism of body. The effect of this labor and sensible intuition is the fruit of effort and endurance, which transcends the existing level of absolute nature, and confirms and establishes the value of existence of physical labor. It is an energy stemmed from will power, while also enhancing the persistent exploration of the works’ original inner content. Unknowingly, it launches the screening and judgement of aesthetic experience, and further propels the works onto a new spiritual level.

“Iron Man” Production Line

“Steel Romance” presents a mutual relationship between related structures of personal creative consciousness and social form, but at the same time, it embodies human-centric thinking that leads to connection with and pursuit of nature, and responds to the need and desire for a collective culture. Creative thinking and forms of art at the moment use people, event, time, place, and object, as parameters of construct, for space, time, matter, and event cannot be separated, thus trending towards a whole of diverse systems; they have also formed an extremely complicated network of connections and relations. Just like the life cycle of the recycled steel scraps at Tung Ho Steel Miaoli Works, the materials are separated, disintegrated, added, refined, and synthesized, and each step along the production line displays different messages, and different types of products require different modes of operation; every collision is possible to ignite new sparks of creative inspiration. Specially, walking among these mountains of steel scraps, as they are waiting to be refined into new products, feels like visiting an archaeological site of all these broken steel scraps; furthermore, the consolidated structures on the surface of slag are just like fossils, which present profound mysterious changes that are thought-provoking, and trigger speculations and associations regarding its course of existence based on the meaning and value of its time, era, history, and background. It explains that not all events or matters happen against such backdrop of space-time, but between them, this broken relation also does not exist; instead, these spaces and times can be replaced by various different relations between things and events, which allow all parts of these things to transcend time and permeate one another, creating a new diverse order, or interactions between the things.

The interpretation of the symbol of “Iron Man” in “Steel Romance” runs through the entire production line at the steel factory; unlike the subjective framework of the “Iron Man” series, it responds to the set models operating at each step along the production line. This way, the practical concept of “Iron Man” accumulated through the speculation of the flow of time and formed by the dialectics of continued practice has pioneered an organic model of unique operation within the dense network structure of “Iron Man Files” it has established, revealing multiple dimensions, transparent layers, multiple references, and mutual dependency, to naturally facilitate own depiction of Iron Man that is the nomad within the chain of time from the past, present, to future, showcasing a strange comprehensive connection and continuously creating a textural context of the overall quantity. The interpretive logics of the practice of “Iron Man” has, to date, given rise to: Linear Iron Man, Scrap Iron Man, Iron Man Transformation, Colorful Iron Man, Altered Land, Altered Territory, Iron Man Ascension, and Iron Man Fossil. The interpretive contexts of these collections of works, based on the time of their development, each present own discourses and mutually interact to showcase formal meanings, while also enabling me to gain powerful dialectic results of related thinking on artistic subjective practice.

“Steel Romance”: A Scene of Reading of the Flow of Time

As stated above, the exhibition format of “Steel Romance” is also categorized based on different attributes and formal expressions. According to the order of respective conscious files, all the “Iron Man” collections are put on full display simultaneously. However, how to depict and create a kind of natural state of conscious phenomenon through the format of presentation in order to show that “Steel Romance” is a kind of connection of multiple systems? The key lies in creation of spatial ambience; that is, to facilitate an interconnecting relationship of comprehensive fusion between works and space, or, a dialoguing relationship, , under the principle of a spatialized site of vision and touch, so that they are inter-referential and intertextual, and showcase their formal differences. “Steel Romance” deploys the entire space, and the “Iron Man” series creates different ambience contexts to launch a fully cohesive macroscopic scene that also brings microscopic depths. Within this limited space, profound illusive variations produced by projections of different colors create an aesthetic site that summons the large through the small, analogizes the many with the few, and pursues quality through quantity. It is a space of visible real world that has been micronized, where invisible temporal consciousness can be extended and expanded. The bodies in “Steel Romance” are sometimes small, sometimes large, sometimes near, and sometimes far; such transitioning bodies have also spread out to the entire space through the vertical and parallel clustering and piling structures of the works, to allow audience to appreciate the works from a certain distance, drawing them closer to the works’ desire of reading so that they weave and wander through the chain of the flow of time of “Steel Romance” and perceive the connecting meanings sparked by collisions of the works. This is an on-going and more transparent “aesthetic scene.” Just as Heidegger wrote in “Being and Time (Sein und Zeit),”4 phenomenon in “phenomenology” means “what shows itself in itself, what is manifest,” and this self-manifestation is “to let that which shows itself be seen from itself in the very way in which it shows itself from itself.” Here, a kind of circular ontological argument is hidden within; the logical structure deduced by the rational construct of Steel Romance shifts toward men’s physical perceptions’ exploring of the essential value of time and space, restoring the forms of works and the situational concept so that they become one with the human body, ultimately expanding the works from inside out so they exhibit the maximum energy.

Conclusion

The “Iron Man” in “Steel Romance” is a recurrence that appears in the form of steel. Through the fire and flame of different instruments, they are shaped to manifest the connected viewpoint and method proposition of multidimensional aesthetic voXel, and allow the complexity of the works to reveal a means of viewing, thus responding to the mode of operation of the entire steel plant. With its unique compound form, “Iron Man” weaves through different time-spaces. These works of varied sizes and forms form different types of clusters of “Iron Man;” yet they each maintain own unique looks and implications and manifest different roles and contents, summoning a phenomenon of stream of consciousness that is hard to put into words; the concept of time of this stream of consciousness—actions start with ideas—has given my creative works an unparalleled organic model and eliminated the entangled existing emotions. There were uncertainties and adventurous detours; although the form and construct of “Iron Man Gesture” disclose a kind of multiplicity of the state of compound body, they nonetheless expand the subjective structure of my artistic contemplation. These expanded thinking and viewpoints, a kind of human-centric, personified aesthetic interpretation, freely roam in this eternal moment, referring to the depiction of the universe imagined by mankind. Through the translation of “Iron Man,” steel presents an ode to itself and assembles and constructs the world of men. The aesthetic connotation consolidated and refined by “Steel Romance” transforms through a free and organic model; the image of “Iron Man” has also discharged the inter-generated practical energy that accelerates towards the unknown future of art with the forward-rolling wheel of time.