The House of Wuchi II: Moonlight, Sutra of Incarnation Explained by Buddha: Lin Ju Solo Exhibition

Lin Ju’s new series Moonlight takes an imagined state of being as its point of departure. This state refers to a vision from beside one’s parents’ bed, before entering the mother’s womb. Through a mode of seeing formed by such trans-dimensional memories, Lin Ju depicts a series of erotic scenes beneath a cruel moonlight.

Through this boundless act of imagined recollection, the artist seems to undergo a form of reverse death: consciousness retreats, the physical body disperses, and the soul gazes upon his parents in the prime of their youth. It becomes another profound reflection on life itself.

Flying backward along the path of reincarnation, this poetic river of an Eastern religious conception of life provides the amniotic fluid and the symbolic birth canal for Lin Ju’s imagination.

In May 1999, we encountered Lin Ju’s The Nine Mirrors of the House of Wuchi—a singular example of an attempt to interpret the spiritual pulse of Taiwan through the language of metaphysics and mystical symbolism.

Two years later, The House of Wuchi II emerged. Guided by religious figures and scenes as its conceptual impetus, the new work Moonlight: The Sutra on Entering the Womb takes an imagined state of being as its point of departure. This state refers to a vision from beside one’s parents’ bed, before entering the mother’s womb. Through a mode of seeing formed by such trans-dimensional memories, Lin Ju depicts a series of erotic scenes beneath a cruel moonlight.

Through this boundless act of imagined recollection, the artist seems to undergo a form of reverse death: consciousness retreats, the physical body disperses, and the soul gazes upon his parents in the prime of their youth. It becomes another profound reflection on life itself.

Flying backward along the path of reincarnation, this poetic river of an Eastern religious conception of life provides the amniotic fluid and the symbolic birth canal for Lin Ju’s imagination.