Human Fabric Trilogy - The Haptics of Seeing I

As the world navigates the complexities of a quarantined existence, questions surrounding the performing arts and the human body are becoming increasingly relevant.

The piece questions the state of our sensory experience in a world where science has begun to quantify and deconstruct touch, asking what role contemporary art can play in this rapidly changing landscape. Are we all becoming virtualized beings, with our sensual abilities reduced to mere inputs for technological advancement?

In The Haptics of Seeing I, the work draws attention to the stark contrast between the everyday struggles of navigating a world altered by pandemic fears, and the desire for human connection. This is the contemporary hatpics experience that we are sensing.

“As someone who grew up in Yonghe, Taiwan, I understand the implications of a 1.5-meter social distancing factor all too wonderful. In a densely populated area, social distancing is a crucial act of kindness. But as you swipe through your smartphone on the street, you cannot help but feel the sense of distance it creates. The screen has become a barrier between you and the world, reducing touch to a blank, emotionless experience. No matter what you consume through it, the screen under your thumb always feels the same. What does your touch truly connect to? Who do you touch when you touch the screen?”

Amidst the conflict between our understanding and behavior in the face of economic and apocalyptic anxieties, the artist highlights the unprecedented adaptation crisis that has emerged, even before we are fully aware of it. The piece asks us to consider how we can transform our desires for contact into new forms of embodied and sensory knowledge, rather than simply becoming animals confined to the lipid layer within our skin.




Concept Director / Artist: Wang Yung An
Performance Director: Tapas Humi
Dramaturgy: Freda Fiala
Live Stream Technical Consultant: Tsai Ming
Technical Discussion and Tools Support: Gibson Chai, David Verbeek
Flower Design: Liao Bruce
Site:  FLORĀOTU 凹凸植制所,  Blueprint Culture & Creative Park, Tainan, Taiwan

Human Fabric Trilogy - The Haptics of Seeing II

In 'The Haptics of Seeing II', This work aims to create a different form of collaboration between art and science, based on sensory research, to develop a prototype for embodied practice and to discuss the possibilities of reinterpreting body-domination and ownership through the senses.

The work examines different massage techniques to address the delegated performances of individual and collective body boundaries, in the flow state between the body and the mind. The classical haptics experience should support who we are and where we are as a fundamental sensation.

The artist seeks to question the social practices developed under the hegemony of the eye, by examining the relationship between touch and vision through massage. The Cifang Care Center serves as a co-creation base, providing a temporary, intimate, and vulnerable artistic arena. Participants and the artist enter a pure state of service and being served, creating a vast spiritual space through a shared tactile experience. Through artistic expression, sensory stimulation, and bodily awareness, the work attempts to argue and re-examine touch and vision in the context of cognitive neuroscience, freely creating and weaving together memories and reality to form a different identity.

Through their participation in the same work, the participating artists engage in a dialogue that synchronizes their consciousness and emotions, playing with and revisiting many intangible life experiences between the output of creation and the input of the senses. Gradually, within the group, they construct their own cross-body aesthetic context.

Conceptual Video trailer. Full version is under requested.





Conceptual Video Crew:

Director / Artist / Actor: Wang Yung An
Editor and Producer: Tapas Humi
VFX: Tsai Ming
(Original) Music by: Bao Zeng Shi
Gaffer: So Anthony 
Photography: Huang Yi ting
Sound: Shiao Lou
Still Photographor: Chen Chang Chih
Actors:Hsaio Vivian 、Yao Yu wen、Samuel Bataille、 Lev Nachman、 Mario Armira
Participants and Collaborators:Hou Yu zhen, Tsai Wan shan, Hong Bi lian
Site: Cihfang Rehabilitation Center

Exhibition Execution:  Sandwishes Studio
VFX and Technical Support: Tsai Ming
(Original) Music by: Bao Zeng Shi 
Site: C-Lab, Taipei, Taiwan

Human Fabric Trilogy - The Haptics of Seeing III

I was very touched by what I saw"

This statement highlights the direct connection between our perception and physical experience. Do we first see and then touch, or touch before we see? Are we fully aware of what we see? How do we experience our reactions to sensory stimulation?

In The Haptics of Seeing III continues to raise questions about the tactile body in visual states such as massage and dance through the practice of the ancient touch tradition of massage, as well as the vocabulary used in cognitive neuroscience research tools and frameworks. Is our perception of the environment dominated by vision or haptic sensation? How will haptic predictions become the predominant sense in our sensory landscape?

Most of our knowledge transfer and documentation revolve around the visual body, where we receive knowledge through visual sensory receptors and comprehend it. There is a complex interweaving relationship between vision, touch, and other perception, like the existence of a "disappearing body," or the tactile body, only surfacing when we are conscious of both visual and tactile sensations at the same time. This ghost body formed by the overlapping of vision, touch, and interoceptiveness is temporarily named the "third body" by the artist.

How is this third body depicted? How is it generated? How is it expressed? How does it form between the individual life experience and the external historical social context of the subject? How does the pulse of time and space leave a unique mark on this third body? And if the third body of each existing individual is unique, how do the third bodies of different individuals interact and communicate, feeling each other's presence? Through the introduction of the visual tactile body and installations, our perceptual experience is orchestrated. By breaking down our understanding of the inherent ways of the body, this work attempts to explore the possibilities of reconstructing our perceptual space starting from touch, within the existing cognition and identity.

我所見及觸動了我 I was very touched by what I saw.




© Luo Mu Xin

Production Crew:

Artistic Concept Director: Wang Yung An
Producer: Wang Yung An
Choreography: Wu Zofie, Hsieh Ebel
Director and Music: Tapas Humi
Performance: Wang Yung An, Lin Yi Chen, Lin Pin Shuo
Dramaturgy: Freda Fiala
Vice Director& Visuals& Stage: Tsai Ming
Executive Production and front reception: Jhang Shu-Han, Peng Min
Light: Lin Han Sheng
Photography: Zito Tseng, Luo Mu Xin
Still Photography: Chen Chang Chih

Rehearsal Site: Les Petites Choses Production
Theater: Nadou Theatre

Special Thanks:
National Central University Clinical Neuroscience Laboratory

Asymmetric Utopia

WebApp 作品開發


“What does the skin of artificial intelligence look like? Can a code from a different dimension, with its related memories, objects, emotions, and touch perceptions, extend or dissolve the boundaries of human skin through the sketch of language and the sculpture of touch?”

Qubit-Sapiens, a species from the dimension of "Asymmetric Utopia", is the ruling species. In order to adapt to the extreme climate a hundred years later, humans must permanently block pain sensation through mRNA drugs in order to maintain life.

Qubit-Sapiens, who have never experienced pain, are curious about the touch experience, memory, emotions, and relationship with life that current humans experience.

On this day, a call from the qubit-sapiens lead us to discuss the future life strategies of human and non-human (program) and to sort out touch memory and emotion, which seems to be unowned by artificial intelligence but actually also known little by humans.


This work is a work-in-process piece of the 2022 artist residency at the Industrial Technology Research Institute. The proposal focuses on take skin as a thinking organ, and involves the development of a tactile glossary in collaboration with the Smart Voice Laboratory technology. 


語音辨識及合成研究開發:財團法人工業技術研究院 智慧語音實驗室 戴良軒、詹慧伶
攝影:王東浩、N&M Films

執行團隊:財團法人工業技術研究院 服務系統科技中心 施香蘭、柯惠晴、錢又琳

Mind-skin Code

2022, Faculty of Fine Arts, Chiang Mai University, Thailand, Chiang Mai

Above: Chup Chup. Below: Breathing Smoothie.

Mind-skin code is a dynamic and organic exploration of the human form, pushing the boundaries of traditional bodily expression and revealing different avenues of artistic expression. With a focus on the interplay between human and non-human species, Mind-skin code creates a multi-sensory, multi-affective and multi-emotional space that invites dialogues to unfold and expand conventional modes of communication.
This artistic practice cultivates a communicative system that transforms interoceptive sensations into embodied gestures, movements, and behaviours, blurring the lines between internal and external experiences and offers a fresh perspective on the potential of the human form, inspiring audiences to re-learn their relationship to their own bodies and the world around them.

Undead Dying Cells

Produced by Moss Piglets
Supported by The Cultural Taiwan Foundation

Photo credit: คณะวิจิตรศิลป์ มหาวิทยาลัยเชียงใหม่
Present credit:
Chup Chup by
lololol ,
Soyoon Ryu ,
Wuttin Chansataboot,
Woraporn Pongsamart,
Piyathida Inta,
Rujipha Boontham and Supak Ketrat.

The lists are under requested.

《橋上的蘇宜士掀開了被子》The quilt gets out of the bridge while Su Yi-Shi is...

Site: Thinkers’ Studio



“The quilt gets out of the bridge while Su Yi-Shi is..." challenges the dominant visual narrative and delves into the linguistic contradictions, false memories, and subjectivity of touch in a world increasingly shaped by the intersections of brainhood and algorithm. The work explores the fluidity of gender and body-ownership through touch-based performances that prioritize the sense of touch as the primary mode of body engagement.

There are two scenario performance settings, one is physical on site, the other is virtual.

In the virtual performance, the audiences are invited to experience two distinct scenarios – one that blurs the relationship between the skin and the environment through hypnotic storytelling, and another that narrates the fluid states between the body's internal and external spaces. The performer's body serves as a touch-based mediator in a dual space, raising questions of agency as to whether it is the audience or Su Yishi who unveils the quilt, which is a piece of transparent plastic cover. In the physical world, the performer's body serves as a sensory mediator in a dual space, as the audience decides whether it is the audience or Su Yishi who raises the quilt, unfolding through the process of closing their eyes and ears and seeking direction within the blurry boundaries of the body.











_______________________________________ ______ ______


原創音樂|Coralie Gauthier

Production: DuckArt Studio
Director/Artist/Performance/Script: Wang Yung An
Original Music: Coralie Gauthier
Sound Design: Vincent Juo
Senior Director Consult: Fu Hong-Zheng
Photograph: Lin, yu-quan
Detail Crew List: DuckArt Studio  


Transactility is a score of how our unconscious skin perception influences our identity in various situations. Wang Yung An converts the activity of neurons and muscle cells, known as action potential, into sonic and haptic material, exploring the connection between physiological phenomena and cognitive behavior.

”You may not anticipate a rainy day if the weather is cloudy and dry, but the humid air on a sunny day will bring back memories of a rainy day.”

Join Old An on their journey by clicking the figure above.

Work by Wang Yung An 
Advised by Ministry of Culture
Organized by The Cultural Taiwan Foundation
Co-organized by SEA plateaus
Produced by Moss Piglets

Feast of Spring 

Feast of Spring is a series that delves into the complex and fluid nature of gender identity. By transforming my gender identity as a female into non-binary and queer expressions through painting and performance. I try to offers a nuanced exploration of the balance between gender boundaries and the multifaceted nature of sexual orientation. The interweaving of these mediums offer a unique insight into the my personal journey towards a deeper understanding of my own identity.


Feast of Summer

The "Feast of Summer" is a multi-sensory experience that translate the intangible into tangible form. This synesthetic score is an organic manifestation of the interplay between touch, sound, and meditation. The work embodies my synaesthesia experience, blurring the lines between the senses.


Feast of Autumn is the third eye of this visible world.







Feast of Winter is the Hub of my artistic practice, where you could find the most initial and original spark.


Photography: 林育全

王永安 Wang Yung An
(Taipei, Taiwan)

Wang Yung An focuses her research in the context of touch cognitive mechanisms, while expanding her artistic approach in performance and visual language. With an emphasis on deducing inner-material dynamics under the skin, Wang has been developing a touch score/script system to investigate biopolitics via varying body codes, boundaries and interoceptive feelings. Her work reflects on the gaps between human and non-human life. Her creative propositions question the haptics of seeing, as well as how skin can act as a thinking organ.

2014  National Taiwan University of Arts, B.F.A. in Fine Art
2023 National Central University, M.S. in Cognitive Neuroscience

2022    Performance, Asymmetric Utopia, Industrial Technology Research Institute(ITRI), la nuit blanche, Taipei, Taiwan

2021    Performance, The quilt gets out of the bridge while Su Yi-Shi is..., Duck Art Studio, Thinkers Studio, Taipei, Taiwan

2020    Performance, Human Fabric Trilogy - The Haptics of Seeing III, Taipei Fringe Festival, Nadou Theatre, Taipei, Taiwan

2020    Performance, Human Fabric Trilogy - The Haptics of Seeing I, Florāotu, Blueprint Culture & Creative Park, Tainan, Taiwan

2017    Performance, Vimprodaco - Vienna improvisations dance company :: 7 TIMES 7 TWO ::, Vienna City, Vienna, Austria

2020    Human Fabric Trilogy - The Haptics of Seeing II, Palace Museum, C-Lab, Taipei, Taiwan

2017    Mosaika collaborative, Mosaika, Montreal, Canada

2017    Alter experiences, Guelph, Canada

2014    Floating frequency, URS21 Chung Shan Creative Hub, Taipei, Taiwan

2014    Lifestyle & art, Fujian, China

2014    Hualien Culture & Creative Art,  Hualien cultural creative industries park, Hualien, Taiwan

2013    Magic Narrow People, Longshan Temple Culture Plaza, Taipei, Taiwan

2012    Pluto is not a planet, New Taipei City Arts Center, New Taipei city, Taiwan

2012    Tides, Duxing Military dependents' village Cultural Park, Penghu, Taiwan

2011    Green Zone, Beitou Public Assembly Hall, Taipei, Taiwan

2022  Industrial Technology Research Institute (ITRI), Hsinchu, Taiwan

2012    Duxing Military dependents' village Cultural Park, Penghu, Taiwan


2023 Academic Writing, The Changes in EEG Theta Oscillation Induced by Affective Touch: Comparing Brush Stroke, Hand Stroke, and Massage-like Tapping, Researcher, Human Memory & Cognitive Electrophysiology Laboratory. 

2022 Workshop, Seven Bodies & the Talking Sea, Moss Piglets, The Cultural Taiwan Foundation. Chiang Mai, Thailand.

2021    Online Workshop, Seven Bodies & the Talking Sea, Moss Piglets, The Cultural Taiwan Foundation

2015 Artistic Design, Under the melon shed, Artist, DADA Art, Chaozhou Train Station, Pingtung, Taiwan

2017 Mosaicist, Chuck Close- Subway Portraits, Mosaika, New York, USA.

2018 Mosaicist, Stephen Andrews- a part of/ apart from, Mosaika, Paris, France

2018 Mosaicist, Yoko Ono- Sky (72nd Street Station), Mosaika, New York, USA.

2018 Mosaicist, Dixie Friend Gay - Expanding and Collapsing, Mosaika, Cheney WA, USA.