Peiyu Lin is a 3D artist whose practice moves between sculpture, digital imaging, and spatial installation. Working across 3D modeling, animation, and video direction, she approaches each project as a constructed narrative environment.
Lin's journey into the art commenced during her formative years, where she initially trained in fashion design. She discovered that she was more captivated by stage imagery and environmental storytelling than by garment construction itself. Her later transition into new media expanded that foundation into digital imaging, 3D modeling, animation, and interactive systems. This dual literacy gives her unusual control over how ideas move from concept to embodied experience.
One of her successful projects is Human Fin, which originates from Lin’s critical reflection on shark fin soup—a luxury dish embedded in traditional Chinese banquet culture. In formal dining contexts, shark fin and abalone symbolize status, prosperity, and respect. Yet behind this ritualized elegance lies the violence of finning: sharks are stripped of their fins and discarded at sea. Lin was struck by the distance between aesthetic refinement and ecological brutality.
Rather than isolating the issue as a problem of illegal fishing, she expanded the frame of responsibility. The work became part of her broader “Human Evil List” project. In this context, responsibility extends beyond fishermen to consumers, cultural traditions, and collective indifference. The project asks viewers to consider: if we were the ones reduced to detachable parts, what would remain of our humanity?
So Lin designed and constructed a large ball-jointed sculptural figure surrounded by numerous wax hands and feet. And those hands and feet are actually candles; you can really use them. The interactive elements were not decorative but integral to the narrative structure. Material experimentation played a central role. “After researching translucent materials, I finally selected wax for its organic optical quality. Each limb was engineered with layered pigmentation so that pale surfaces would reveal red interiors when burned,” she reflected. This required testing burn behavior, structural stability, and pigment layering. The repetition of hand-sculpted limbs demanded precision and endurance.
Structurally, the central figure required careful study of articulation, proportion, and balance. Spatial composition was equally deliberate. The densely arranged limbs echo rows of drying shark fins, creating a psychological environment rather than a single object. What distinguishes Lin’s practice is her ability to operate across roles. In independent projects like Human Fin, she oversees research, fabrication, electronics, documentation, and exhibition strategy.
The project received a Merit Award at Free Art Fair 2016 in Taiwan, affirming her capacity to independently conceive and execute complex hybrid installations.
Today, as digital tools and AI expand artistic production at an accelerating speed, Lin embraces them as collective intelligence. “I appreciate AI’s development and am looking forward to incorporating it in my workflow ethically. Artists now use tools like DALL·E, Midjourney, Runway ML, and Adobe Firefly to explore new styles, experiment faster, and visualize ideas that once seemed impossible.” AI, she argues, challenges traditional notions of artistic individuality while accelerating production. Rather than resist this shift, Peiyu Lin sees it as an inevitable turning point, one that demands reflection and adaptation.
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