[ LINK ]
Visual artist and social designer whose practice is rooted in her father’s work as a mortician. This background has shaped her exploration of social beliefs, death rituals, metaphysics, and spectral narratives within specific landscapes.
Lin works across video, performance, sculpture and installation, transforming social issues into visual narratives using everyday objects and accessible artistic techniques. Her projects unfold through various mediums, from performance workshops to interactive games, embodying knowledge through participation.
Marginalised and non-human perspectives lie at the core of her work, offering new outlooks on epistemological and socio-environmental crises. Lin’s long-term practice centres on spatial narratives and bodily experiences, exploring emotional attachments to land and identity through spatial representations and religious symbols. Her work often exists in an unfinished, fluid state—hovering between the known and unknown, guiding viewers toward introspection.
With ongoing support from Stimuleringsfonds, Het Nieuwe Instituut, and other organisations, Lin’s research continues to explore new possibilities within contemporary art, fostering dialogues at the intersection of social design & visual arts.
Artwork
Title
Breath In The Ghost — 把鬼呼吸進來
Dimension
H230 x W120cm
Material
Video, Wood, Fabric, Metal, Charcoal
Weight
20kg
Upon arriving in Penghu for her field research, Lin Szu-Han immediately fell ill. Local elders attributed her sickness to negative energy that had invaded her body through encounters with 'unclean things'. She fantasised that perhaps an unseen presence had entered her body through her 'breathing' and spread within. Beneath her skin, her body became a vessel, offering what may have been a dutch ghost a physical form once more and granting it the power to tell its story.
This idea deepened during a visit to a master of paper craft, who explained that in traditional paper crafting, the creation of deity figures is based on symbolic representations from classical texts, with details defined by divination blocks. However, this process has gradually become more mechanised with contemporary production methods. This prompted the artist to reconsider the aesthetics of ‘image-making’: fictional characters, lacking anatomical accuracy and physical bodies, are merely appearances. She sought to express the fictitious nature of deity-making through exaggeration, outlining the Dutch ghost's spinal structure as it appeared in her own consciousness.
Building on this concept, Lin created a 5-minute video, filmed on the abandoned peninsula where the ruins of the Dutch fortress stand. In this ‘physical space’, she engages in dialogue with the Dutch ghost within her body-land, attempting to revitalise this being who, though devoid of physical form, remains vividly present in cultural memory.
The spinal structure is carved from the wood of a White Popinac [ Leucaena leucocephala ], a tree species reportedly brought to Penghu by the Dutch in the 17th century. Over four centuries it has transformed—from essential firewood to an invasive species—its essence unchanged yet recontextualised through time and space. Like deities and historical narratives, its meaning shifts with each era's understanding. Through this work, Lin seeks to tell this story.
[ LINK ]
Creates sculptural objects that merge body and matter, blurring the boundary between the living and the non-living. Through performance, these sculptures come to life, transforming into ‘hybrid entities’ as the performers concealed within the seemingly inanimate structures are revealed to the audience, embodying a delicate balance between stillness and movement.
Crafted from a variety of materials such as wood, cardboard, textiles, and metal, Verrijt’s sculptures appear robust yet fragile. They evolve continuously as their materials are reused and transformed into new works, resembling the evolutionary cycle of a living organism.
Inspired by folklore, rituals, and ecology, Verrijt draws parallels between natural cycles and mythical archetypes. Through live performances and sculptural installations, these cycles and ancient beliefs resonate within his evolving sculptures, which are perpetually disassembled and reborn. This process mirrors the cycles of decay and renewal found in nature, gradually forming a unique mythology of their own.
Artwork
Title
Swarming Circle | Hybrid Organism
Dimension
2.40 x 2.20 x 1.30m
Material
Textiles, Metal, Wood, Wheels, Aluminium
Weight
80kg
Wessel Verrijt was engaged in conversation with Szu-Han during her research trip in Penghu, exchanging texts and images. He was particularly inspired by a performance film she created during her stay, in which a dancer interacts with rolling waves and grass swayed by the wind; her movements fluid as if part of the surrounding landscape. From this, Verrijt crafted a new sculpture that resonates with and responds to Szu-Han's process. From the beginning, there was a strong connection between the two makers' work, particularly in their shared fascination with rituals, folklore, and ecology.
The sculpture Verrijt created is a constantly moving, evolving piece, containing textiles and kinetic elements that ripple and echo with every new movement. An initial impulse triggers a rhythmic, organic flow which is perpetuated by the sculpture itself with no extra effort. This reflects the Taoist principle of Wu Wei—which translates to ‘non-doing’ or ‘effortless action’—where a single motion creates a continuous, harmonious resonance.
[ LINK ]
Visual artist and social designer whose practice is rooted in her father’s work as a mortician. This background has shaped her exploration of social beliefs, death rituals, metaphysics, and spectral narratives within specific landscapes.
Lin works across video, performance, sculpture and installation, transforming social issues into visual narratives using everyday objects and accessible artistic techniques. Her projects unfold through various mediums, from performance workshops to interactive games, embodying knowledge through participation.
Marginalised and non-human perspectives lie at the core of her work, offering new outlooks on epistemological and socio-environmental crises. Lin’s long-term practice centres on spatial narratives and bodily experiences, exploring emotional attachments to land and identity through spatial representations and religious symbols. Her work often exists in an unfinished, fluid state—hovering between the known and unknown, guiding viewers toward introspection.
With ongoing support from Stimuleringsfonds, Het Nieuwe Instituut, and other organisations, Lin’s research continues to explore new possibilities within contemporary art, fostering dialogues at the intersection of social design & visual arts.
Artwork
Title
Breath In The Ghost — 把鬼呼吸進來
Dimension
H230 x W120cm
Material
Video, Wood, Fabric, Metal, Charcoal
Weight
20kg
Upon arriving in Penghu for her field research, Lin Szu-Han immediately fell ill. Local elders attributed her sickness to negative energy that had invaded her body through encounters with 'unclean things'. She fantasised that perhaps an unseen presence had entered her body through her 'breathing' and spread within. Beneath her skin, her body became a vessel, offering what may have been a dutch ghost a physical form once more and granting it the power to tell its story.
This idea deepened during a visit to a master of paper craft, who explained that in traditional paper crafting, the creation of deity figures is based on symbolic representations from classical texts, with details defined by divination blocks. However, this process has gradually become more mechanised with contemporary production methods. This prompted the artist to reconsider the aesthetics of ‘image-making’: fictional characters, lacking anatomical accuracy and physical bodies, are merely appearances. She sought to express the fictitious nature of deity-making through exaggeration, outlining the Dutch ghost's spinal structure as it appeared in her own consciousness.
Building on this concept, Lin created a 5-minute video, filmed on the abandoned peninsula where the ruins of the Dutch fortress stand. In this ‘physical space’, she engages in dialogue with the Dutch ghost within her body-land, attempting to revitalise this being who, though devoid of physical form, remains vividly present in cultural memory.
The spinal structure is carved from the wood of a White Popinac [ Leucaena leucocephala ], a tree species reportedly brought to Penghu by the Dutch in the 17th century. Over four centuries it has transformed—from essential firewood to an invasive species—its essence unchanged yet recontextualised through time and space. Like deities and historical narratives, its meaning shifts with each era's understanding. Through this work, Lin seeks to tell this story.
[ LINK ]
Creates sculptural objects that merge body and matter, blurring the boundary between the living and the non-living. Through performance, these sculptures come to life, transforming into ‘hybrid entities’ as the performers concealed within the seemingly inanimate structures are revealed to the audience, embodying a delicate balance between stillness and movement.
Crafted from a variety of materials such as wood, cardboard, textiles, and metal, Verrijt’s sculptures appear robust yet fragile. They evolve continuously as their materials are reused and transformed into new works, resembling the evolutionary cycle of a living organism.
Inspired by folklore, rituals, and ecology, Verrijt draws parallels between natural cycles and mythical archetypes. Through live performances and sculptural installations, these cycles and ancient beliefs resonate within his evolving sculptures, which are perpetually disassembled and reborn. This process mirrors the cycles of decay and renewal found in nature, gradually forming a unique mythology of their own.
Artwork
Title
Swarming Circle | Hybrid Organism
Dimension
2.40 x 2.20 x 1.30m
Material
Textiles, Metal, Wood, Wheels, Aluminium
Weight
80kg
Wessel Verrijt was engaged in conversation with Szu-Han during her research trip in Penghu, exchanging texts and images. He was particularly inspired by a performance film she created during her stay, in which a dancer interacts with rolling waves and grass swayed by the wind; her movements fluid as if part of the surrounding landscape. From this, Verrijt crafted a new sculpture that resonates with and responds to Szu-Han's process. From the beginning, there was a strong connection between the two makers' work, particularly in their shared fascination with rituals, folklore, and ecology.
The sculpture Verrijt created is a constantly moving, evolving piece, containing textiles and kinetic elements that ripple and echo with every new movement. An initial impulse triggers a rhythmic, organic flow which is perpetuated by the sculpture itself with no extra effort. This reflects the Taoist principle of Wu Wei—which translates to ‘non-doing’ or ‘effortless action’—where a single motion creates a continuous, harmonious resonance.