《Land Anemone》為一件動力裝置作品，透過改造日常物件（按摩器與塑料羽毛球），構築出類似海葵的人工生命形態。裝置在機械驅動下持續運動，呈現出如呼吸般的節奏，模擬一種似有機又非有機的存在狀態。

作品關注人造生命與自然生命之間的模糊邊界。這個由塑膠與機械構成的「海葵」，既指向自然界的生物形態，也同時暴露其人工與工業材料的本質。透過這種張力，作品提出一個問題：當生命的形式可以被複製與生成，生命的定義是否仍然穩固？

此作品亦可被視為藝術家早期對非人存在與系統運作的探索。裝置中的材料、結構與動力形成一個持續運作的機械生態，暗示技術不僅是工具，而可能作為一種參與生成的存在。

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Land Anemone is a kinetic installation that constructs an artificial life form resembling a sea anemone through the transformation of everyday objects, including massage devices and plastic shuttlecocks. Driven by mechanical motion, the installation generates a continuous, breathing-like rhythm, evoking a state between the organic and the artificial.

The work explores the blurred boundary between natural and artificial life. Composed of plastic and mechanical components, this “anemone” simultaneously references biological forms while revealing its synthetic and industrial nature. Through this tension, the work raises a question: when the form of life can be replicated and constructed, how stable is our definition of life itself?

This piece can also be understood as an early investigation into non-human agency and system-based thinking. The interaction between material, structure, and motion forms a self-sustaining mechanical ecology, suggesting that technology may not only function as a tool, but as an active participant in processes of becoming.