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創作理念  Artist Statement


The concept of my creation, is based on discussion of life and emotional expression. I believe there are lots of issues in a life cycle, I want to find another possible answer through creating. By dismantling, collaging and reorganizing icons that captures the relations of human and nature, human and animals, and self and other. Through this process, then I try to respond with my own stance and attitude.


2016 侵蝕的記憶 Rusty Memory




Photos record moments might be excited, sorrowful or normal. Each moment was once a full ballon, pricked by time slowly then collapsed until people forget.

“Rusty Memory” is based on family photos. I remove each one’s face in the photo, make each beholder become one of them. Ones can arrive the past when they didn’t exist. Plants and vein doesn’t only mean one’s relation with family, but the thread I try to sew the beholders’ past up, make one’s old time recombine into now. I chose aluminum and silver foil as media, metallic colour giving a feeling of time’s sharpness. Images on sliver foil could be oxidized easily, but aluminum could not. Images on aluminum foil are truth and on silver foil are memory we have that changes with time. Find out feelings in our mind deeply by staring at those image.

2016 月蝕 Eclipse


Life's not only a single experience but a cycle. Every plant comes from someone who gazing itself, like a moon eclipsed into a unique shape.

2016 屋頂上的植物學家 Botanist on the Roof


The plants are collected from my father’s patterre on the roof. From bloom to root, each part of plant leaves itself will wither soon, I record their difference during this period of time. I try to discuss the relation between invaders and victims in this series. Look for a possibility of mutual understanding for a unfair relation by transplanting parts of plant on human body. 

2016 饗宴 Symposium


The idea “Symposium” came from Plato’s《Symposium》, the original human was round,had two same faces on one head, four hands and four feet. There were three sexes in number, man, woman, and the union of man and woman. People were satisfied with themselves. At that time, gods fear human, therefore Zeus decided to cut them into two to make them more profitable for gods. But after people were divided, they desired their other half badly, looking for it instead of serving gods. “Human nature was originally one and we were a whole, and the desire and the pursuit of the whole is called love” (Plato). “Symposium” is a development from series of “Decadent Garden” which I made before, if series of “Decadent Garden” is about people fade away with waiting, then series of “Symposium” is their revival. Their body combines with plants, their soul immortal in Samsara and keep on waiting their other half.

2016 普魯斯特時光 Proust Moment

「唯一真實的樂園是人們失去的樂園」(安德烈·莫洛亞 André Maurois)


“...the true paradises are the paradises we have lost.” (André Maurois)

I always wonder that “We all live in the same world” is true. In this “same world”, someone never has seen the sea, someone is atheist, someone eats celery and someone hates it, children somewhere have to avoid bombs over them, some just go eating ice cream after school. Proust believe truth is not synonymous with reality, a real world should be respective experiences and emotions integrated, as many real worlds as there are many people, there is not a very standard. “Proust Moment” is a series with discontinuation and incompleteness. They are parallel universes for each other.“Proust Moment” exists only as been explained, separated and reestablished in one’s consciousness. The beholders can not only witness but create a world which is unique and fantastic owing to its incompleteness. 

2017 星象 Constellations

獵戶、飛鷹、仙女、船隻、毒蠍。 宇宙是紙頁,星球是散落的字,被虛線連成神話與指南。 我則用實線梭縫,投影駐紮於過往的生靈,召喚它們在紙上夜巡,或許似曾相似、或許擦肩而過,我沿路撿拾記憶的碎片,若有似無的拼湊新的章節。



Orion, Aquila, Andromeda, Carina, and Scorpio; the universe is a piece of paper, and the planets are scattered words, connected with dotted lines into myths and guides. I, using solid lines, stitch up and project the past creatures, to summon them on a piece of paper for the night watch. With a deja vu and familiar feeling, I pick up pieces of memories along the way to put together a new chapter in an equivocal way.


I used mixed media that included transfer printing, stitch, and ink materials in turn to complete the work. While processing the final stage of ink material, I took the work as a plate and interpreted it by single wooden plate block pressing. The ink was thick, so I had only one chance to print. Both the block print and the work are a creation, but the block print resembles more the original work in the transfer printing stage. There seemed to be some form of endless cyclelike transmigration between the work and the block print.

2017 不存在的幽靈 Fictional Spirit


我們一直都在各自的心智中經驗這個世界。 我們不能看見事物的本質,我們也無法擁有同樣的記憶。情感的左右、生理支配,再再決定著我們當下如何形塑世界。 畫布的基底是被刷染墨汁的箔,而我把影像轉印在畫布的背面,同時從背面開始縫紉輪廓,於是畫布的正面布滿虛線,像是一棟無中生有的廢墟在黑暗中搖晃,然後我再以清水沿著虛線洗刷,考古似地讓這棟廢墟更加鮮明,水則沿著針孔滲入背面,原先的影像因而暈開、甚至消失。




We all have been experiencing this world with our own mind. We can neither see the nature of things nor have the same memory. Emotional and physiological state   determines how we shape the world in each moment again and again. The base of the fabric is foils painted with ink; I transferred the image onto the back of the fabric, and started with the stitches on the back for outlines. This made the front side of the fabric covered with dotted lines, like an old building that was made out of nothing and tumbling down in the dark. And then I, like an archaeologist, brushed along the dotted lines with branch water to make the old building more distinct. The water penetrated into the back through the pinholes, thus making the original image blurred, even disappear.


I personally consider this series of work more of sculptures than graphic paintings. Both the front and back of the fabric are a part of this whole work, yet they cannot be seen at the same time. Front side or back side, they require each other's existence to be completed indirectly in a blind way. When I was stitching, I could not control the shape of the dotted lines. In the process of brushing the lines, I couldn't predict the final look of the image on the back. This unpredictable situation unexpectedly released me from my experience in the world to create. When the viewers look at and perceive both sides of the work back and forth, they are able to naturally form a three-dimensional structure of the work in consciousness with sufficient room for personal interpretation.


2018 暗湧 Undertow



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