Each entrance is more than a physical passage—it marks the boundary between regions, cultures, and histories. In Taiwan, such entranceicons often take the form of community gates, large sculptures, landscape mascots, or stylized landmarks situated at the edges of towns andvillages. These structures typically incorporate local industries, regional identity, or governmental promotional messages, forming a hybridbetween public art and community installation. Through exaggerated forms and oversized, figurative symbols—animals, crops, or industrialmotifs—they produce a visible sense of place and reinforce collective memory and local identity.

Through photography, I collect and categorize these highly recognizable entrance features, re-examining their often banal or kitschaesthetics. In doing so, I transform them into cultural images that reveal how place-based identity is shaped through institutional and visualstrategies. These “entrance objects” function not only as geographic markers but also as visual apparatuses of history, power, and cultural narrative—subtly influencing the way local character is represented and remembered within Taiwan’s contemporary landscape.