黑料不打烊

It is difficult to define So Yo Hen鈥檚 creative journey as either linear or binary. His work spans a wide range of experiences and expressions: it includes the frenetic sketches from his early days of pairing with strangers in online chatrooms, and his independent music label 鈥淚ndi Indi,鈥� which features the voice of marginalized individuals with 鈥渢heir insignificant sounds.鈥� His piece Hua-shan-qiang (2013) draws on Taiwanese funeral rituals and paper craft to navigate the realms of life and death, blended with political reflections on Taiwan鈥檚 colonial history and status quo. Plaster Gong (2017) resonates with the fragile sounds of Taiwan鈥檚 modern identity. The intimate sculpture from the time spent with his sons, encapsulated in the warm nighttime exchange, Goodnight, see you later. (2021), evokes familial bond. In Taman-taman (Park) (2024), he examines with compassion and humor the lives of Indonesian migrant workers, easing the weight of reality with poetic transitions. These diverse themes, be it grand or modest, are captured through So鈥檚 shifting lens, rendered in different media and his fluid artistic language, each piece scratching an itch in the viewer鈥檚 consciousness.