Traverse Online Catalog









Hi ~

I am Julius Li Zong-Jhan, engaged in moving image narrative. I melt and mould singular selves into multiple authenticities, creating realities that compete with the monolithic reality.

Transforming to an attentive listener when working on digital design, I craft branding graphics that amplify the resonance between the clients' voice and their products/ services.

Artist CV


MA Photography Arts with Distinction, University of Westminster, London, United Kingdom

BFA Fine Art, Taipei National University of the Arts, Taipei, Taiwan


2019  Toulouse, France
The Pivot Point was part of Recontre Traverse Vidéo on the theme of Experimental {research/art},  screened in the programme of Les Curiosités at Cinémathèque de Toulouse, and exhibited in the programme of Recontres at Lycée Ozenne.

2018  ONCA Gallery, Brighton, United Kingdom
The Pivot Point was part of Brighton Photo Fringe in the section of Open 18 Moving Image.

2018  Ambika P3, London, United Kingdom
The Pivot Point was part of Probable Lies, one of the joint MA Photography degree show (University of Westminster).

2016  New Taipei City, Taiwan
Body-Boat Project: Let’s Build a Boat and Row Us Out! was a group project conducted on the occasion of the BFA degree show (Taipei National University of the Arts).

2016  8 & 1/2 Art Space, Taipei, Taiwan
From 8 to 8 & 1/2 was exhibited in Visual Cortex, a duo exhibition with Tsai Tsung Hsun.


2017  Saint-Raphaël, France
Riddles from Inferno was officially selected in AVIFF art film festival.

2015  Taipei, Taiwan
Johnny was awarded Gold Prize in LEXUS Short Film Taiwan.


2018  Kaohsiung, Taiwan
The Pivot Point was sponsored by Donglin Fude Temple 東林福德廟 for the exhibition expense in Probable Lies (London, 2018).


The Pivot Point

Text by Simone Dompeyre, director & curator of Traverse VidéoTranslation by Loura

This is a introduction of The Pivot Point  written on the occasion of the 2019 edition of Traverse Vidéo where the project was showcased in the screening and installation sessions. For the original text (French) please click here.

The Point Pivot sits between two figures and marks two periods of Taiwan, created with a virtuoso inverse transformation in a bottomless background; it goes from hand-painted into 3D.

 Firstly, the fixed panel shows lines of Chinese characters with some of them redacted by heavy erasures. Below the text appears a childlike painting: a group of smiling people follows a scholar who is distinguished to others with a cut-out silhouette. They all freeze like figurines while suddenly grimacing to each other. The scholar, having been remaining still with piercing eyes, eventually comes alive to approach the crossroads, which is eponymous to the work's title. In a sententious way with precise gesture settings, the scholar Lin Ban-Xian claims in a threatening tone—against all the odds for a Taoist master—that the intersection where he stands in the town of Linyuan in southern Taiwan is the Point Pivot of the Scissors Curse. It was a curse that he had launched around 1700 since his body had been buried upside down. Standing in the centre of digital groves, he claims his place in the inversed world though his corpse has been removed.

Shifting to the modern world with no trees but geometrised buildings, the focus pans towards a new person who dressed in a Chinese army uniform: Chiang Kai Chek, whose statue was erected at the same place in the twentieth century. Having brought heavier impact than Lin Ban Xian, here the politician proclaims himself the saviour of Taiwan as he liberated the island from Japanese and the communists—we remember that Chiang, as a representative of Kuomintang, had participated in the cohesion of China and its entry into the UN, but fled to Taiwan after his failure against Mao Tse Tung. The two men belong to two different eras while the 3D simulation combines them into one roly-poly, with a face developed from documents and pictures of modern time. What brings them even closer is the voice the artist lends to his avatars. The Pivot Point is polysemous. It has become the intersection of thoughts, beliefs, expectations, ambitions. Ideas and knowledge are disseminated and appropriated with images regardless of their content, medium, and how they are produced.