Ting-Yu is a physical experience designer / theatrical installation artist from Taiwan. Her practices mainly focus on concept of object narratives, human nature, and exploring different ways of storytelling.
She is enthusiastic in experimenting and developing narrative mechanics to involve her audiences into structures and lead them to unravel stories by themselves, making people get a sense of living in the scenarios and result in meaningful interactions throughout the experiences.

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Ting-Yu is a theatrical installation artist from Taiwan. Her practices mainly focus on concept of object narratives, human nature, and exploring different ways of storytelling.
She is enthusiastic in experimenting and developing narrative mechanics to involve her audiences into structures and lead them to unravel stories by themselves, making people get a sense of living in the scenarios and result in meaningful interactions throughout the experiences.

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NONENTITY
Aug-2022




An Experimental Short Film
by Ting-Yu Lee and Chun-Tien Hsiao
"Please read all terms and conditions, and press the green button to accept."
We are the ones who decided to accept from the start to the end.

Meat or Pet.
Be loved or Be left.

"I don't feel well."
You thought the dark inner side of your mind was well buried in the city's darkness.

"We need to get out quick."
To please or To flee.
Remember or Forget.

Do not ever believe you can escape.
Distorted memories will play out throughout your life over and over again.

Look, the movie is about to start.


This is a 16mm film shot by a BOLEX camera. We shot it in black and white as we believed removing colours can enhance the audiences’ attention on the narrative and the emotional flow.

The body connects the mind and soul, forming an interweaving of dreams and reality. Dreams are subconscious reflections. What are you afraid of deep down in your heart? Feelings are projections of emotions, often projecting the dark side that is most afraid of being exposed: inferiority to others, inferiority complex, worthlessness, anxiety.

This film illustrates the unease by bringing in a third-person character: using the accustomed way of escaping. There are no human characters, and the entire film is interpreted with fragmentary puppets. We want to express that in our memory, the appearance of the person who has deeply hurt you has long been forgotten, but words and actions are like invisible thorns that have been stabbed in and cannot be pulled out.

We make our everyday lives constantly turning like gears to meet the standards in the eyes of the society, but it is not loyal to oneself but a fragile shell that pretends. It breaks when touched. We are always trying to meet the expectations of the public. Should I kill you to eat or treat you as a close pet? Eventually, we all want to get out and escape this emotional state; "Ah... I am back in the same mistake again."

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