Born in Taipei, Taiwan in 1976, SU Hui-Yu received his Bachelor’s degree from the Department of Fine Arts at National Taiwan Normal University in 1998 and received his Master’s degree from the Department of Fine Arts at Taipei National University of the Arts. Since 2002, his artistic practice has been closely related to mass media, TV, commercial culture, and image productions on a daily basis. His works have been shown in exhibitions around Taipei, Beijing, New York, Berlin, Paris, Madrid, Los Angeles, Seoul, and many other cities. His solo exhibitions The Fabled Shoots in 2007 and Stilnox Home Video in 2010 were both nominated for Taishin Arts Awards for Visual Arts. 

Describing himself as a child growing up with television, SU responded to the reading of images, the choice of language, and the cognitive thinking in a society dominated by media in his works between 2004 and 2007. His artistic concept thus echoed the aesthetic expressions developed in contemporary society. In 2004-2005, he appropriated the ridiculous repetition and the commercialized emotional outburst in soap operas in his Endless Calling. Bad in 2005 and Dance in 2006 both touch upon how MV influences the life of teenagers and how they form their identity. In Everything, we see texts and images similar to news ticker or trailers, through which the artist talks about the sense of speed, the fragmentized and simplified data, the visual excitement, and the brainwashing information bombardment on TV. The Fabled Shoots in 2007 adopts the vocabulary of the crime movie genre to play with the visual intrigue. The representation of genre movies/series not only satisfies the artist’s desire in its reflection but also unveils the paradoxical virtual reality constructed by contemporary media. 

Dance reflects the “age of image” where the 1970's generation grew up in. Compared with the narrative of an epic-like image, the fast cutting in a pop-music-video style offers greater excitement to teenagers with its rhythm, speed, and kaleidoscopic sensation. Meanwhile, in the highly competitive media industry, filmmakers/video makers need to catch audience’s attention as fast as possible so the storyline straight-to-the-point soon becomes the selling point. Dance is a video work with powerful rhythm and music. SU plays a role in the video. He wears some casual suit, swinging his body with the rhythm. The work was shown on the outdoor video wall in Ximendin. Many passerby thought of it as some pop singer’s debut music video. 

Taiwan’s mass media and cable television has flourished since the lifting of Martial Law. Cable television was legalized with the enactment of Cable Broadcasting and Television Act in 1993, while the number of non-government broadcasting channels increased up to over 100. Media becomes more accessible, influencing our visual perception and ways of thinking through these diverse information-intensive channels. 

SU Hui-Yu’s artistic practice can be traced back to his childhood. Growing up with television, the experience of “watching TV” becomes a major visual element in his artworks. Most of his early artworks truthfully present his status as a receiver. Gradually, the artist gets involved in the process of producing visual fantasy in our reality. From television to the digital media we cannot live without, from Facebook to portable 3C products, our perception has already logged in the wireless cyberspace of contemporary media and it will never log off. According to the artist, the media reflects our subconsciousness and desire. It has been blended in our real bodies. It is unavoidable that we become the products and the producers of the media.