《水泥廠》(a cement plant)｜錄像(彩色)Video (colored)｜5min｜2011

試圖將身體被包覆的情境衝擊以一個抽離的影像形式來描述。這是一個無明確敘事的拼貼影像，而符號存有於工業式的景像和生態物種間的對照關係。影像中的小黑狗以一個游移的方式飄移，即宣告進入一個非自然場域空間，而現實中牠卻是和工場並存且相互依存的自然物種。日常物件的居所來自大量的水泥分子所組構，成為一個日常居所活動空間，而我試圖關切的是其源頭，其場域周邊充斥的是無人為的訊息，以及少數的人力，隱微在水泥場的角落運作著。但它卻能生成出大量人的住所，那樣的對照和生成有一種詭譎在此間拉拒著，而那樣的間縫是我所關切的。

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陳依純I CHUN CHEN《美好的生活》(Beautiful Day) ｜video ｜04m59s｜ 2011

大量的訊息，不斷藉由傳播媒體散佈。人的渺小，卻不斷接收洪水法般的大量新聞悲劇。人們逐漸學會漠視來消弱刺點，越危險不安，卻越釋放自然喜樂的訊息，不能破壞其平衡來沖毀建立的美好假像。恣意關掉接收訊息的來源，重新組構元素排列，試圖催眠述說著一切很好。我藉由影像中的符號和氛圍試圖去談論這一切，我們現在的生活。
The abundant messages and tragic news through mass media make people insignificant and demobilized. The more stimulating these messages are, the more indifferent people become detached from the punctum moment; although living in a high risk society, people only turn to the good news; the illusional balance of terror can not be broken. Why not just deliberately shut down the source of these messages and rearrange them, trying to tell everybody that everything is fine? Through images, symbols and through auras, these works are trying to delineate this hypnotic situation; it is the life now we are living.

陳依純《韻律操001》(rhythmic gymnastics 001)｜數位輸出Print｜36*36cm｜2011

陳依純《韻律操002》(rhythmic gymnastics 002)｜數位輸出Print｜36*36cm｜2011

勞工身體的韻律，隨著機械而運作。所有的身體步驟，隨著機械操作，而成為單一的，無聊的，有效製作公式。
這不是輕鬆詼諧的工作，也讓工業區裡總是徵求不到年輕有力的軀體，願意有效加入的行列。累的跟狗一樣，機械喧囂中的孤寂，身體耗竭所有的體力，達到四肢失衡以至忘我的不好玩韻律操。

此作獻給我最摯愛的父母以及N條伴我成長的小黑狗。

The worker’s body is moving by the sound of the machine. Each step of the body are working by operate the machine that are single, boring, and have effective operate way.
It’s not easy and funny work. And in factory area is always have no voluntarily younger want to do those jobs .People in factory are always tired like a dog. They are lonely in noisy, exhaust energy to lose body’s existence feeling and to forget unfunny rhythmic gymnastics.
This work is for my parent and many black dogs in factory area.

羅禾淋、陳依純｜《此曾在》Ça a été｜機械裝置、夜光顏料｜2011

後現代哲學家羅蘭․巴特，在《明室》一書中，對於影像紀錄的對象，脫離現場拍攝地點的再現，提出了「此曾在」的概念，訴說影像(照片)中的人物曾經存在過 ，透過影像連結過去與未來，最後影像脫離主題達到全新的存在 ，此概念在現今資訊網路快速發展的當下迅速擴張著，人與人之間透過因高科技而產生的多重再現，證明自我與他者之間的連結性，但在隨著科技的發展，此曾在漸漸失去了原本僅存¬不多的溫度。此作品中運用夜光顏料的紀錄性，證明著人們曾經在這裡，而慢慢逝去的人影，訴說人與人之間的無限想像，是否不永久的保存，才會有人們珍惜彼此的溫度與靈光。

In Camera Lucida, Roland Barthes makes an ontological elaboration on the representation of those who had already been taken down by photographic or video devices and proposes the concept of Ça a été (that-has-been): the images testify the once presence of themselves and connect the past to the future. Eventually, they will reach a whole new existence free from any pre-determined subjects and contexts. Also, the concept itself expands in the rapid communication of information age; on one hand, the technology allows people to connect with people and creates multiple representations which verify the connection between self and others; on the other hand, it also gradually demolishes the remain of the human warmth. By employing the unique recording quality of photoluminescent pigments, these works confirm the waning of the aura and human connections that was once here but now gone by; however, it is also only through this impermanency that we learn to cherish those who and which remain.

羅禾淋、陳依純｜《光之行氣》(Light Calligraphy) ｜機械裝置、夜光顏料｜2010

利用程式操控馬達組成的機器手臂，手臂上有一組利用傳統光學所組成的LED聚光燈，因此機械動力會帶動聚光燈的光點移動。
移動中的光點打在夜光上，出現如畫紙般顯示出光之軌跡，光之軌跡形成一種特殊的非邏輯性繪畫，光點也與行人間產生互動，留下觀眾間傳遞的溫度與符號給下一觀者。

Use classical physics conception to let LED’s light through Convex
Lens to create the beam. And that the beam draws on the absorb pigment
(Chemistry: ZnS).This classical physics phenomenon is want to let the
science, technology and machine to come back the original nature, and
that is the Zen of Buddhism.
The beam is like a pen; the absorb pigment is like a paper, we use
Single chip IC to control the machine’s motion ,to create the Chinese
calligraphy‘s pause and transition in rhythm breath. The light’s
motion will create the Zen confines.
When viewer joining this work, they pursue the light which is
according the Chinese calligraphy’s motion, and those pursue and touch
process will let the beam and the viewer’s body combine with machine.
The Chinese calligraphy breath will hug the viewer’s body. When viewer
touch the light point, they stay their shadow on the wall, at the same
time they also change the drawing. Viewer could like the beam stay
their breath and conception on the wall.

《肖像計劃_編號001》(The Portrait Project_no001)｜錄像(彩色無聲)Video (colored, soundless)｜5min｜2011
《肖像計劃_編號002》(The Portrait Project_no002)｜錄像(彩色無聲) Video (colored, soundless)｜5min｜2011
《肖像計劃_編號003》(The Portrait Project_no003)｜錄像(彩色無聲) Video (colored, soundless)｜5min｜2011h93

展出現場會有數個類遺照似的相框，影像播放的是這些即將被遺棄舊時的手工機械。它們不斷的無聲的運動著，影像是經過電腦後製的刻意運動。藉由傳達機械當時的不在場，不運作，而以電腦去背的刻意運動張顯它的曾經存在性，而非實際錄影。

(CHEN,I-CHUN)｜《逝去的胖胖雞》
( Good-bye my grandmother’s fat chicken)｜ Video｜ 0 5分00秒｜2009


20年前在阿嬤家那隨處可見的景象，家家飼養雞的場景如今已塑像紀念。全球化大量快速複製下，昔日的地方氣息如今已消散，取代的是籠中雞，快速飼養，快速宰殺，不帶情感和珍惜。而20年後我們現下平凡的行為和手中正在使用的物件是否亦會被塑像懷念!

台灣擁有的是一種人情味和我們對家鄉的情感，而如今兒時的記憶景象被塑像或是像兒時飛機餅乾被重新包裝高價販售時，重溫景緻回憶需要用這樣的方式時，且景致和回憶被拋棄的時效性越來越短時，人們對速食和人文還存有多少溫度?

利用平移的影像方式敘說這樣的思慮，宛若風景和時間的流動。利用一些玩具或圖像游移或偶發的示現，配合如音樂盒般的聲響，讓景緻超脫主體的不在場，似入夢中亦或真實間縹緲穿梭。真實中的假碰撞影片中的假，讓真假互相交錯而在微微之中引動反思。

(CHEN,I-CHUN)《表皮工廠》(Epidermis Factory) video 5m00s 2011 工場的表皮如同以往的外觀，即時無望但裡頭沉寂的靜謐仍然靜待一種可能性。那是一種人性尊嚴的延續，不管在哪個階層，被迫失業的人們還是努力的想存在在勞動中的狀態。小工廠裡苦撐的是一種對自我存在價值的意志和堅持。 The Artist's Statement / CHEN I-Chun The exterior appearance of the factory remains intact, signifying the continuum of human dignity, whereas the silence that prevails in the room seems to signal some hope amidst hopelessness. Those who have been forced out of their jobs – regardless of their positions – struggle to stay in work. What the little factory is fighting to maintain is a sense of self worth and pride. Workers are among those most affected by the phenomenon of globalization of trade and capital. Under the forces of globalization, the workers are forced into a life of continuous employment in a temporary position and nomadic displacement. It is because those small home-based factories are replaced by large-scale factories of multinational companies. As the world becomes increasingly homogenized and all kinds of boundaries increasingly blurred, capital flows are moving in an ever fast pace, so are the changing and evolving of meanings. As a result, signs and symbols are constantly received and interpreted in new contexts to form new meanings and new signifying orders. In a new world characterized by flexible systems of signification, everything traditional or solid will eventually become a thing of the past.
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(CHEN,I-CHUN)《生物退化論》(Biological Degeneration Theory) video 3m00s 2011

物種的進化、不變、退化，顯現的是一個城市面對環境態度的一個實體活物之顯像。而追趕全球經濟的腳步，其中被消逝掉的溫度或活體，為求生存的「突變」成為新的莫名替代。