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Divine Entertainment Ltd.

2025

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Divine Entertainment Ltd..3D digital modelling, 100 × 200 cm

Divine Entertainment Ltd. draws inspiration from Hieronymus Bosch’s “The Garden of Earthly Delights”, reimagining mythology as a contemporary entertainment industry. The work combines fragments of Chinese and British mythologies with recognisable landscapes and monuments, including the White Cliffs, Stonehenge and Battersea Power Station. Mythical creatures, industrial structures and natural forms coexist within an impossible, theatrical world, where cultural histories are flattened into colourful attractions.


By adopting a playful and deliberately excessive visual language, the work questions the authority of mythology and the grand narratives it traditionally supports. Gods, monsters, monuments and national symbols no longer appear as sacred or stable forms; instead, they become interchangeable images within a commercial spectacle. The suffix “Ltd.” transforms this imagined world into a fictional company, suggesting that myths, identities and collective memories can be produced, packaged and consumed. Beneath its humorous surface, the work reflects on how contemporary culture turns history and belief into entertainment.
 

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Squared Eden
3D digital modelling
50 × 50 cm

Squared Eden is part of the series Divine Entertainment Ltd. and imagines a new mythology for the age of digital civilisation. Combining Eastern mythology, Western visions of paradise and digitally constructed landscapes, the work centres on the Lushu from "Shan Hai Jing" ("The Classic of Mountains and Seas"), reimagined as a hybrid lifeform suspended between nature, divinity and artificial systems.


Influenced by Hieronymus Bosch’s "The Garden of Earthly Delights", the work explores how contemporary societies imagine the unknown through virtual landscapes and artificial ecologies. Its candy-coloured terrain, floating organisms and domesticated mythical creatures form a seductive yet controlled paradise. As wildness and unpredictability disappear, this idealised world becomes an optimised spectacle, revealing how digital culture and systems of consumption reshape desire, beauty and our tolerance for uncertainty.
 

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