The several hundred drawings in the Green Room are made with green ink on translucent and intentionally wrinkled silk paper. Each piece overlaps a second layer done with black ink. The multitude of images that Pien gives his ghosts serve as metaphors for the fears and vulnerabilities populating our lives. The gallery space, transformed for the occasion, will shelter fantastic phantoms of all shapes and forms.

The Green Room has two kinds of ghosts: the green drawings are based on myths and imagination; the black ones are pulled and manipulated from reality such as images from violent crimes, atomic bombings, disease and suffering. During this installation’s resting state, the viewer can only see the top layer’s green drawings and discern a bit of the black ghost image coming through from the second layer below. When the viewer’s movement triggers a motion sensor, the top green images seem to suddenly vanish as the white light switches to green.

At the same instance, air current is introduced to the exhibition space that causes the top layer of drawings to flutter up; thus revealing the black images that are hidden below as the 2nd layer of black images are pinned on all four corners while the top layers are pinned only on the top two corners. At the same instance, air current is introduced to the exhibition space that causes the top layer of drawings to flutter up; thus revealing the black images that are hidden below as the 2nd layer of black images are pinned on all four corners while the top layers are pinned only on the top two corners. In this drawing installation, the boundary between these two different realities of ghosts dissolves. To the artist, they are one and the same and their similarities are not coincidental.