In the work Eve Clone Series, Lin Pey-Chwen criticizes human’s desire to replace the Creator and to adopt modern technology to create artificial life. In the series Back to Nature - Artificial Life in 1999, Lin started using acrylic light box to collage digital images of flowers and plants, as in Substantial Life, Land．Scape, Treasure, Flowers but Not Flowers, Flower Pillar, and Cultivation, Chrysalis, to criticize the fake nature permeating in our surroundings. Since 2004, Back to Nature - Artificial Life has been adopting 3D images and interactive installations to criticize the artificial life created by human beings as in Catching and Creation. Meanwhile, the artist starts using the form of “specimen” to represent that artificial life can be easily filed, coded, modified, or deleted. After 2007, Lin Pey Chwen started using interactive installations to construct virtual image of half-human-half-beast, pointing out the illusionary life created by cloning technology and reflecting the danger and restraint technology has brought to us. The number “666” written in different languages and engraved on the forehead and the hand of Eve Clone is based upon the prophesy in Revelation that in the end of the world, any human beings engraved with the number of the beast “666” on their forehead and right hand will not be able to escape from the control of evil beasts. The series works include The Portrait of Eve Clone, The Hand of Eve Clone, The Fingers of Eve Clone, Mass Production of Eve Clone, Revelation of Eve Clone, Documentation of Revelation of Eve Clone, Inspection of Eve Clone, Eve Clone No.3 / No.4, and many others, mocking that the desire for and the fighting-back of technology will turn out to be the unbearable disaster of human beings.