Taped Animals Art Series
The iron frame motif in this series is inspired by traditional Southeast Asian wrought-iron door/gates, commonly found in old neighborhoods, symbolizing the barrier between “civilization” and “modern society.” Behind the iron frame, faint shadows of tropical plants, hunters, and their weapons and ropes emerge, exposing the brutal truth hidden behind the glittering façade of urban life and tourism.
Above the frame, a tourist crouches like a voyeur, snapping photos with a phone. Next to them sits a half-finished bubble tea—a metaphor for how humans consume nature purely as “customers.”
In these works, the Malayan tiger and the sun bear are coldly “taped” to the wall with industrial duct tape, satirizing the iconic Banana Art Tape Comedian. What the public remembers is the absurd banana, while the endangered wildlife of the real world slips silently toward extinction.
On the wall, these animals resemble helpless specimens, a reminder that Earth does not belong to humans alone, but is a shared home for all life.
這組作品的鐵框圖案，取材自東南亞傳統的鐵花門，一種常見於老社區的金屬裝飾門，象徵「文明」與「現代社會」的隔閡。
鐵框後隱約浮現熱帶植物、獵人及其捕獵工具與繩索的影子，揭露了隱藏在城市繁華與觀光面貌背後的殘酷真相。在鐵框的上方，一位遊客以偷窺者般的姿態，用手機拍照，旁邊是一杯喝到一半的珍珠奶茶，暗喻人類以「消費者」的身份來看待與消費自然。作品中，馬來亞虎與馬來熊，被工業膠帶冷酷地「貼」在牆上，諷刺 Banana Art Tape《Comedian》的經典形象。
人們記得的是那根荒誕的香蕉，卻遺忘了真實世界裡正走向消失的瀕危野生動物。這些動物在牆上，像是無助的標本，提醒我們：
地球並不僅屬於人類，而是所有生命的共同家園。A nation that brands its animals, but forgets to save them.
一個愛用動物當品牌，卻忘了拯救牠們的國家。
The Malayan Tiger clenches the national flower—the hibiscus (Bunga Raya)—between its teeth, yet is callously taped to the wall with industrial duct tape, symbolizing how it has been “used” and “consumed” as a national emblem and marketing tool.
The tiger’s image is everywhere: sports teams, corporate logos, merchandise IPs. But in reality, its forests are being felled and invaded at an alarming speed. In just a few decades, the wild Malayan tiger population has plummeted from thousands to fewer than 150 individuals (according to recent surveys), making it one of the most endangered big cats in the world.
This artwork is an indictment of hollow symbolism: we proudly shout about the “Pride of the Tiger,” yet allow the real creature to vanish in silence.
馬來亞虎嘴裡緊咬著國花—木槿花（Bunga Raya），卻被冷冰冰的工業膠帶貼在牆上，象徵著它在國家符號與商業行銷上的「被利用」與「被消費」。老虎的形象遍布在運動隊伍、企業標誌與IP商品上，但現實中，它的棲息地正不斷被砍伐與侵佔。短短數十年間，野生馬來亞虎的數量從數千隻驟降至不足150隻（依據近年最新調查數據），成為最瀕危的大型貓科動物之一。這幅作品是對「空洞象徵」的控訴：我們習慣於高喊「虎之驕傲」，卻容許真實的牠在沉默中消逝。
The Malayan Sun Bear, the world’s smallest bear, remains little known to the public. In this piece, it wears the same vest as Malaysia’s tourism mascot, yet is pinned to the wall with industrial duct tape, signifying how it has been shaped into a cheerful tourism symbol while its real plight is ignored.
In its paw, it carries a plastic bag stuffed with leftover takeaway containers, a biting commentary on human waste culture and plastic pollution.
In reality, the sun bear’s habitat is shrinking rapidly. They are used for entertainment and tourism mascots, while their wild freedom and right to survival are repeatedly stripped away.
馬來熊是世界上最小的熊科動物，卻鮮少被大眾熟知。這幅作品裡的它，穿著與「馬來西亞旅遊吉祥物」相同的背心，被工業膠帶固定在牆上，象徵它雖被塑造成歡樂的觀光形象，卻無人關心牠的真實處境。它的手裡提著一袋塞滿剩食外賣盒的塑膠垃圾，反諷人類的浪費文化與塑料污染。
真實的馬來熊棲息地正逐漸被破壞，它們被利用成為娛樂或觀光的符號，而野性的自由與生存權利卻一再被剝奪。
Project : Personal Project
Year of Creation: 2025 ( 31 Aug 25)
Tools : Procreate, Adobe Photoshop