The works are molded sculptures for mass production: in this age of industrial duplication, the advancement of civilization has made quantification through duplication the symbol of this era; especially, quantification through duplication emphasizes a kind of unlimited expansion, and the possibility of increasing from one to infinity.
Inspired by the genetic transfer principles, the work dissects into the popular issues such as genetic duplication through a cloned ox. Milk cattle are mammals, and the form presents their strength and energy. The large frame and developed muscles respond to the expectations of the sculpture’s expression of mass. It is also the product with economic value in today’s industrial and information age that replaces the buffaloes in the agricultural society in the past.
The sculpture was first sculpted using clay, and then molds were created for duplication; steel was used for the production of the final sculpture. In pursuit of the temporal aesthetics of the time, the paint has been baked to achieve the same surface of a car, and the consistent and delicate shiny material represents an exploration into the visual perception of the cultural layer. Six pieces of the work have been duplicated, five black and one white, to create different vocabularies. For example, white is visually bright and clear, whereas black is on the opposite side of the spectrum, and is dark and ambiguous. Railway tracks are the symbol of the arrival of industrial society, and here, they have been converted into symbolic platforms of the sculptures, carrying the organic body “Life – Milk Cattle,” so that the meaning of the work is presented through the corresponding symbols. Driven by the motor, the work slowly moves back and forth on the tracks with limited distance. The stainless steel mirror surface lined underneath the tracks, with its reflective nature, also reflects all the objects to present a virtual and opposite duplicated image.