C. J. Yeh is a designer, artist, educator, and published author. Yeh’s research interests include practices, theories, and the history of digital art. Since 1999, Yeh’s essays on art and technology have been featured in Art and Collection Magazine, ArtNow Magazine, Art Today Magazine, and Artists Magazine, amongst others. He has also written research articles for the Taipei Museum of Contemporary Art, the Taipei Fine Arts Museum, and the National Taiwan Museum of Fine Arts. C. J. Yeh has published seven books up to date. His latest book, The Principles of Interaction Design, was released by Artists Publishing in Dec, 2010, and it has been adopted as a textbook by several universities in Taiwan.

C. J. Yeh has lectured and exhibited his creative work internationally, including USA, Italy, Taiwan, and Canada. Since 1998, C. J. Yeh has been exploring the area of new media art which he has integrated into his more traditional areas of study and expression. The juxtaposition and integration of digital and analog, virtual and actual, natural and cultural, articulates his point of view on the changing perception of identity and reality in the digital era. Yeh’s prolific exhibition schedule includes showings at the National Taiwan Museum of Fine Arts (Taiwan), the Queens Museum of Art (New York), MAXXI Museum (Rome), and the Museum of Contemporary Art (Taipei). His work has been introduced and reviewed by publications such as The New York Times, World Journal, NY Arts, and Brooklyn Rail. Mr. Yeh’s work can also be found in public art collections, such as the MAXXI Museum Net Art Archive and The Joan Flasch Net Art Collection.

C. J. Yeh is currently teaching full-time at the Communication Design Department. Yeh has won several teaching award to date including the FIT Excellence Award, the SUNY Chancellor's Award for Excellence in Teaching, and the Adobe Educator’s Choice Award.

Perfect 10

The interactive project, Perfect 10, is a commentary on the fast growing trend among young women in Asia to get plastic surgery. Statistic shows that, in South Korea, one in five women have went under the knifes in pursuit of the ideal appearance which is racialized with the angelo-phied standards of beauty - double-lidded eyes, straight pointy nose, slender legs…etc. The latter surgery is especially horrifying. The procedure actually severs a nerve in the leg to make the muscle atrophy, causing a more slender look.

It is an old and tired debate to weight the prod and cons of cosmetic surgery or define the meaning of beauty. Perfect 10 solved the problem by creating a catalog of facial features from 30 famous Asian actresses and super models, which can generate 27,000 different combinations. The viewer could randomize their looks in the mirrow by simply shouting into the microphone.

De-Purpose series

No one in the world would deny the relevance of social media to and for this current generation. The fast-paced, instant gratification nature of social media creates an environment where every individual feels highly compelled to broadcast their thoughts and experiences to others. The immediate positive reinforcement that we get in the form of likes, “+1s”, retweets, comments, and etc. makes the social networking experience addictive.

With the increased reliance on websites such as Facebook and Twitter, we are becoming accustomed to habitually posting and sharing everything at any moment, and just the thought of not being able to share something can actually cause anxiety and psychological discomfort. According to a study done by researchers from the University of Chicago, the desire for social contact via media is more addictive and harder to resist than smoking or drinking. The De-Purpose series consists of several digital art projects which attempt to encourage discussions centered on the issues surrounding social media phenomena.

CJ Was Here series

CJ Was Here series is a visual journey documenting significant moments in the artist’s life since arriving in the United States in 1993. All of the digital photographs in this series were manipulated with an experimental imaging technique called “databending.” Instead of manipulating images visually using commercial software such as Photoshop, databending artists alter the raw binary data in order to influence the data’s interpretation by causing errors, artifacts, or other “noise” to occur intentionally. This creative process is also known as “glitch art.” It is closely related to the glitch music that emerged in the mid to late 1990s. Kim Cascone, a well-respected American composer of electronic music, classified glitch as a sub-genre of electronica and used the term “post-digital” to describe the glitch aesthetic. In CJ Was Here, the databending processes are often being used as a proof of one’s existence or as a metaphor for the unplanned and unexpected events that happen in our everyday life.

Equals series

If Picasso owned a Macintosh computer, would he be using Photoshop? The Equals series examines the creative process of acclaimed masters of art by employing data mapping as a vehicle for repurposing Modernist ideas and concerns. Throughout this series, each piece aims to connect a simple data input activity that anyone can do with a particular iconic Modernist master that almost everyone can recognize. By analyzing the formal elements of these masters’ signature style and turning them into algorithms, the artist was able to create digital software programs that enable users to experience the creative process of art in simple and unexpected ways.

The Equals series represents a rebellion against and homage to several masters of Modernism whom the artist has spent much of his career studying and idolizing. By challenging the belief in the singularity and unique aura of the original artwork with digital media’s infinitely reproducible and automatable nature, C. J. Yeh forcefully accentuates the distinct characteristics of digital art.

Liquid_Mondrian series

The project, Liquid_Mondrian, is an attempt to explore the transformation and migration of images and objects from the physical world to the cyberspace. This project is a site-specific installation in which a virtual environment has also been created to echo its counterpart in physical space. I chose Piet Mondrian’s painting as my subject based on several factors: he is widely recognized, his style of painting is unique, his painting is very suitable to encoding by HTML, and the Modernist movement of which he was part believed in the singularity of original artwork.

Translating Mondrian’s work into HTML code, and then materializing these codes using the same material, method, and presentation as the original, leads to a new series of painting in some sense equivalent to the original yet completely distinct in nature. These paintings are neither analog nor digital. They have the physical presence that does not belong to the cyber world, yet the intended visual content of these paintings is no longer apparent to the human eye. My process has produced works that ultimately mirror the differences between themselves.


  1. 2013 RESET
    East Gallery, Taipei, Taiwan
  2. 2012 Pre-Purpose, Re-Purpose, De-Purpose
    Museum of Contemporary Art, Taipei, Taiwan
  3. 2012 The Great American Tour
    Art Taipei 2012, Taipei World Trade Center, Taipei, Taiwan
  4. 2011 Über Low-Tech Summing Up 10 Years of My Artistic and Intellectual Life Arts
    Center at National Tsing Hua University, Shin Chu City, Taiwan
  5. 2006 Equals
    VertexList Gallery, Brooklyn, NY, USA
  6. 2003 Liquid_Mondrian
    VertexList Gallery, Brooklyn, NY, USA
  7. 2001 The Forgotten Present
    Zao Gallery, New York, NY, USA
  8. 1999 C. J. Yeh - Recent Paintings
    Chinese American Arts Council, New York, NY, USA


  1. 2013 Making Places For...
    inArt Space, Tainan, Taiwan
  2. 2013 TEMPO
    Helen Mills, New York, USA
  3. 2013 The Delight of Chinese Characters
    Pier 2 Art Center, Kaohsiung, Taiwan
  4. 2012 Body/Inter-Face - Digital Art
    Exhibition Taipei Digital Art Center, Taipei, Taiwan
  5. 2012 PROCESSED
    Center546, New York, NY, USA
  6. 2012 Art Tainan 2012
    The Landis, Tainan, Taiwan
  7. 2011 Play Station
    Postmaster Gallery, New York, NY, USA
  8. 2011 Data In, Data Out
    Walsh Gallery at Seton Hall University, South Orange, NJ, USA
  9. 2011 Next Body - Digital Art Exhibition
    Hua Shan Culture and Creative Industry Center, Taipei, Taiwan
  10. 2011 Woodstock New Media Festival
    Woodstock, Vermont, USA
  11. 2010 Connectivity
    Museum at FIT, New York, NY, USA
  12. 2010 Body, Gender, Technology
    Taipei Digital Art Center, Taipei, Taiwan
  13. 2010 Made in Internet - ArtBoom Festival
    Krakow, Poland
  14. 2009 Transmediale 09’ - Festival for Art and Digital Culture
    Berlin, Germany
  15. 2008 Execution
    Museum at FIT, New York, NY, USA
  16. 2008 BITMAP - as good as new
    The Leonard Pearlstein Gallery, Drexel University, Philadelphia, PA, USA
  17. 2008 sound.sight[interaction] 2.0
    Maryland Institute College of Art, Baltimore, MD, USA
  18. 2008 8 Bits - Blip Festival 07'
    VertexList Gallery, New York, NY, USA
  19. 2007 Art Basel
    Miami Beach, FL, USA
  20. 2007 Plug-and-Play 2.0
    DigiArk - National Taiwan Museum of Fine Arts, Tai-Chung, Taiwan
  21. 2007 Taiwan-Australian New Media Arts
    Exhibition Kuando Museum of Fine Arts, Taipei, Taiwan
  22. 2007 Diverse Visions
    Walsh Gallery at Seton Hall University, South Orange, NJ, USA
  23. 2006 Net Archives
    MAXXI Museum, Rome, Italy
  24. 2006 Duality
    Melvin Gallery, Florida Southern College, Lakeland, FL, USA
  25. 2006 You Are Here
    VertexList Gallery, Brooklyn, NY, USA
  26. 2005 Crossing Disciplines
    Schafler Gallery, Pratt Institute, New York, NY, USA
  27. 2005 Faculty Exhibition
    Schafler Gallery, Pratt Institute, New York, NY, USA
  28. 2004 NEXUS: Taiwan in Queens
    Queens Museum of Art, Queens, NY, USA
  29. 2004 Era of Contention
    Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, USA
  30. 2002 Making It Home
    Ise Cultural Foundation, New York, NY, USA
  31. 2002 Unknown/Infinity
    Legion Arts/CSPS, Cedar Rapids, IA, USA
  32. 2001 Unknown/Infinity
    Taipei Information and Culture Center, New York, NY, USA
  33. 2001 Unknown/Infinity
    Stephen Gang Gallery, New York, NY, USA
  34. 2001 NurtureArt Reaches the Heights
    NYU Washington Square East Gallery, New York, NY, USA
  35. 2000 Beyond Ethnic Stereotypes
    Kennedy Museum of Arts, Athens, OH, USA


  1. 2010 The Principles of Interaction Design in the Post-Digital Age
    Publisher: Artist Publishing, Taiwan, ISBN: 9789862820018
  2. 2008 Digital Aesthetics
    Publisher: Artist Publishing, Taiwan, ISBN: 978-9867-0348-61
  3. 2006 The History and Development of Digital Art
    Publisher: Artist Publishing, Taiwan, ISBN: 986-7487-67-2
  4. 2004 Art and the Empire City
    Publisher: Art and Collection Publishing, Taiwan, ISBN: 986-7519-19-1
  5. 2003 Art in the Digital Age
    Publisher: Art and Collection Publishing, Taiwan, ISBN: 957-28476-2-7


  1. MAXXI Museum, B. A. S. E. Net Art Archive
  2. Joan Flasch Net Art Collection, Art Institute of Chicago Pace University
  3. University of Pennsylvania
  4. Fu-Hsin Trade and Arts School