30 August 2023
Artist Highlight - Jack Lee
Interview and Review
Jack Lee is a multi-disciplinary designer and artist from Taiwan whose practice explores the intersection of art, design, and interactive technology. Trained in product design and physical computing, he studied across Taipei, Brno, and London, culminating in an MA in Design Products at the Royal College of Art. His work combines technical precision with imaginative experimentation, creating installations that engage viewers, encourage participation, and invite reflection on the relationship between human behaviour and environment. In projects such as The Dots - II, Jack uses materials like polarised film and kinetic mechanisms to transform space into dynamic, responsive experiences. His modular approach allows for adaptable, customisable works that extend beyond the gallery, demonstrating a commitment to innovation, audience engagement, and the poetic possibilities of technology in contemporary design.
ARTIST INTERVIEW
1.Can you elaborate on how your academic journey, spanning Taipei, Brno, and London, has influenced your multidisciplinary background as a designer and artist?
While studying in the Design Department at the National Taiwan University of Science and Technology, the educational focus was predominantly on fundamental techniques and rigorous design research, which aligned more with traditional industrial design. Back then, I thought industrial design was especially about achieving practical applications and problem-solving, resulting in beautifully crafted design outputs. However, I went to Brno University of Technology (BUT) in the Czech Republic during my third year of Bachelor's as an exchange student, where I encountered an entirely different culture and teaching approach.
At Brno, the teaching style was distinct from what I used to in Taipei. Instead of providing clear design objectives, the professors guided us to experiment in areas of personal interest. The design process itself was emphasised over the outcomes. As I was in the Faculty of Fine Arts in the BUT, I also got exposed to courses on new media art, igniting my interest in technology-driven art. After returning to Taiwan, I incorporated the skills I learned in the Czech Republic into my graduation project, creating an artwork called "SOUNDMATE" that combined technological art with product design. This project sparked my strong interest in integrating products and technology art.
To explore more possibilities in this field, I enrolled in the MA Design Products program at the Royal College of Art (RCA) in the UK, officially embarking on my artistic journey. RCA's teaching methodology encouraged us to unleash creativity, engage in whimsical explorations, and extract intriguing elements for extended design. Throughout this process, I found the direction that genuinely intrigued me — utilising interactive installations to delve into the relationship between human behaviour and the environment; this subsequently led to the development of The Dots series.
My experiences of living in three different countries significantly broadened my horizons, liberating my creative vision from the confines of traditional design industries. These diverse cultural encounters have enriched the diversity and context of my subsequent creative endeavours.
2. The manipulation of polarised film and servo motors in your installation creates dynamic effects. Could you critique the impact of these effects on the viewer's experience and perception of the artwork?
I chose polarised film as the crucial material because it can change its transparency through a purely physical rotation. The polarised film can create more intricate and versatile effects than standard colour or light-changing materials. This material is prevalent in our daily lives, but its application in artistic creation has yet to be well-known. Therefore, using such a medium can also bring the audience more curiosity and a sense of surprise. One of the advantages of kinetic installations is its ability to capture the audience's attention at first sight. When they put on the specially designed face shield, they will suddenly reveal unexpected visual effects, which is also a focal point of my intention. The act of putting on the face shield also provides the viewers with a sense of ritual, allowing them to be more focused and immersed in the experiential process. Compared to immediately apparent visual effects, creating surprises through this approach can leave a more profound impression on the viewers.
3. The use of more than 20 servos to create dynamic waves in the installation is intriguing. Can you discuss the technical and artistic challenges you encountered while designing and executing this aspect of the project?
The Dots II is the second kinetic installation from The Dots series. In the earlier version, I only used seven servo motors. However, in this piece, I've incorporated a staggering 21 servo motors, which has added considerable complexity to the circuitry connections and programming. My background in industrial design allowed me to plan detailed and precise three-dimensional structures and assembly methods in the initial design phase, making me more efficient during the production process. Conversely, as I lacked relevant engineering expertise, I had to rely on self-guided online resources to learn programming and circuit configuration, which dedicated more time to the project. The material characteristics of the polarised film are mesmerising. Different rotation speeds, arrangements, and proportions of overlap yield entirely distinct effects, often deviating from the envisioned outcomes during actual operation. Therefore, iterative testing and design adjustments were necessary, shaping the final product through a trial-and-error process. This piece's eventual arrangement actually differs from my initial design, resulting from an unexpected experiment midway through the setting up of the structure. I always adapt my artwork on-site based on the display space, aiming for better resonance and integration with the surrounding environment; this is also the most intriguing aspect of creating installation art.
4. You mention being open to custom commissions with variable dimensions. How do you approach the process of creating custom designs, and what kind of collaborations or projects are you particularly excited about?
Due to the simplicity of elements in The Dots series installation, which relies on varying arrangements and dynamic changes of dots to create different visual effects, it can be easily adapted for various application purposes. Each dot can be seen as a module, allowing the quantity and arrangement of units to vary according to client requirements and the space size. Apart from serving as an art installation, The Dots can also be considered a pixelated display, showcasing specific patterns or logos on the surface of architecture. As a result, The Dots holds significant potential for future development in both artistic and commercial applications.
KINETIC PERCEPTION AND THE POETICS OF PARTICIPATION
REVIEW BY GENE CHEN, ART DIRECTOR
Jack Lee’s practice navigates the porous boundary between art, design, and human experience. His works are not merely installations but carefully orchestrated systems in which technology, movement, and perception converge. Through The Dots - II, Jack transforms space into a responsive environment where light, material, and audience action coalesce, inviting viewers to participate in the creation of their own visual experience. Every interaction is choreographed yet open-ended, balancing technical precision with an intuitive sense of play.
At the heart of Jack’s work is his interest in the subtle interplay between human behaviour and environmental response. The Dots - II employs polarised film and servo motors to generate dynamic waves of shifting transparency. As panels rotate, the angle between the polarised surface and the specially designed face shield worn by the audience alters, producing fleeting and mutable visual effects. The installation becomes both object and event, drawing attention not only to what is seen but to the act of seeing itself. This careful manipulation of material and light reflects Jack’s commitment to crafting experiences that unfold gradually, where surprise and discovery are embedded into the viewer’s encounter.
Jack’s multidisciplinary education, spanning Taipei, Brno, and London, is evident in his rigorous yet exploratory approach. He brings industrial design sensibilities, technical research, and a facility with digital systems into dialogue with artistic intuition. This hybrid approach allows him to manage the complexities of kinetic sculpture while maintaining a sense of spontaneity and aesthetic subtlety. The technical challenges of aligning twenty-one servo motors, calibrating their rotation, and orchestrating layered light effects are met with a measured sensitivity, transforming potential mechanical rigidity into fluid, almost organic movement. Each panel, each rotation, contributes to a larger rhythm that is experienced collectively yet individually.
Equally notable is the conceptual clarity of The Dots series. Jack views each unit as a module, adaptable for bespoke arrangements, architectural surfaces, or pattern-based displays. This modularity extends the work beyond the gallery context, hinting at the intersections of art, design, and social engagement. The Dots encourages reflection on how structure, repetition, and subtle variation shape perception, while its participatory aspect situates the audience as co-authors of the visual field.
Ultimately, Jack Lee’s work exemplifies a poetics of participation. It is precise without rigidity, technologically sophisticated without intimidation, and visually compelling while intellectually engaging. Through his installations, he cultivates a space where perception, action, and material presence intersect, demonstrating that interactivity can be both contemplative and profoundly poetic. The Dots - II is a testament to Jack’s ability to weave technical expertise and artistic vision into experiences that resonate long after the initial encounter.