Bbrother’s graffiti does not stress expressiveness, but focuses on image and relationship with the urban environment to become an ‘event’ of dissonance and disturbance. He frequently converts photographs into digital files, modifies them into templates and then uses them to execute street interventions. For example, in his Good Friends series (2006), Bbrother placed graffiti effigies of his close friends on walls or cement pillars in their favorite haunts, creating a dialogue between private image and public venue. In his Old Photography series (2006), he appropriated photographs by well known Taiwanese photographers and applied them as graffiti in communities, derelict sites and places on the margins of the city, engaging in an in-depth exploration of memory and issues of local concern.
Bbrother is also a radical activist, taking part in demonstrations protesting plans to replace the leprosy hospice Losheng Sanatorium with a rapid transit station, opposing globalisation and war, and voicing support for ‘rice bomber’ Yang Ju-men. He presented images of these protests in his Struggle series (2006), employing graffiti as an urban strategy of ‘visibility politics’. More recently, in his Spectacle series (2008), he took the photographs of murder crime scenes found in newspapers and transplanted them to urban spaces, making them extreme externalisations of social spectacle.
In 2006, Bbrother became embroiled in conflict with government authorities for painting graffiti at Huashan Culture Park. In the same year, as part of the ‘Co6 Taiwan Avant-garde Documenta III exhibition’ at the National Taiwan Museum of Fine Arts, he placed fake electrical transformer boxes on the streets of Taipei, allowing people to mark them with graffiti. He then displayed the boxes in the museum to explore how anarchic street politics and artistic interventions interact with governmental institutions.