The image of animals has evolved in human society, turning into codes of popular culture and elements of consumer goods. Many stuffed animals have become the fantastic variation of real animals as they have been filtered human imagination since our childhood. The work The Hunting Machine transforms the common street sight of Taiwan, the claw machines, into classical-style wooden display cabinets. They create a frame for contemplation, allowing people to quietly observe, while also serving as interactive gaming installations. Within the childlike dioramas, the pieces attempt to depict the fusion and strangeness between “the natural” and “the artificial.”

Through the glass, you can observe the enclosed space of the machine. The internal four sides of the space have been surrounded by a landscape created by an AI image generator that doesn't exist in reality. In the foreground, there are artificial minerals and grass, with lifelike stuffed animals inhabiting, all of them parodying the arrangement of zoological specimens in a natural history museum. As viewers insert coins, control joysticks, press buttons, and manipulate the plush toys' postures, the primal desires of humans in the natural world are thus symbolized, including naming, choosing, hunting, and nurturing animals. These animals appear unharmed, never resisting or crying out, but their eyes are extremely bright, reflecting the cruelty of human actions.