【島嶼地質學】   2012 130×75×4cm 壓克力顏料、複合媒材 將所有訊息減到最低，呈現低限美感，將民族文化色彩，經由不同顏色去時間堆疊，帶入作品畫面。並象徵性地去揣摩地層經時間累積出的地質美學，最後將長時間累積的原圖料層剖開，剖面色塊條條分明，有如將原始大地切分出族群的地平線般，有所牽連卻各個民族皆有特色。       【Island Geology】   2012 130×75×4cm Acrylic paint, mixed media All messages are reduced to a minimal aesthetically in this work; ethnic and cultural features are built up through time and different colours. I tried to symbolically represent geological aesthetics in a system accumulated by time, eventually slicing through the whole like a geological sample. Each layer represents an ethnic group and symbolizes how each ethnic group is built upon its predecessor.  

【呼喚Mana】 2012 130×97cm 壓克力顏料、礦物彩、畫布   作品啓發來自東海岸被海浪侵蝕而成的天然洞穴。這種奇妙的天然景象意味著孕育生命的力量，而“Mana”是南島民族稱呼祖靈的共通語言。在滿月的東海岸上，Mana化身為奇特的礁岩，呼喚著岩石上刻蝕的紋樣和潮間帶的珊瑚。Mana是南島精神中，人和自然界的溝通橋梁，祂告訴我們，當享用這片豐饒之地的同時，也必當尊敬這土地。   在臺東生活及創作的這些日子裡，觀察植物的生長或岩石形態時，我發現到這種純粹的能量，而南島精神也在此刻深深植入我心靈裡。       【Calling Mana】   2012 130×97cm Acrylic paint, mineral color, canvas   The inspiration of this work comes from the natural caves eroded by waves along the east coast. This kind of wonderful natural scene represents the power that gives birth to life. “Mana” is a common term for the Austronesian people to call ancestral spirits. On the east coast with a full moon, Mana is transformed into a reef rock, calling for the eroded patterns on the rock and coral reef of tidal flat. In Austronesian spirit, Mana is a communication bridge between human and nature. It tells us that when we enjoy this piece of fertile land, we must respect the land. During the period of living and creating works in Taitung, I found this pure energy by observing the growth of plats and the form of rocks, and the Austronesia spirit is deeply implanted in my mind at the same time.  

【臥底臺東：背風之處】 2011 23分 行動藝術/影音 通過行動與表達藝術存在之形式，所還原自然生命的本質 。表現形式： 1.以初生兒之心情穿著單衣，現身臺東二十日，體驗真實的現實人生。 2.一場場與陌生人的接觸影像，呈現人與人之間的關係建立。 3.行走池上、關山、瑞和、瑞源、紅葉、鹿野、初鹿、賓朗、富源、卑南、臺東、太麻里、知本、土阪、臺阪共15區 。   【Where Behind the Wind】 2011 23 minutes Through the actions and the forms of performing art existence, this work restores the essence of natural life, performed forms as follows: 1.Put on the unlined garment with a mood of a new-born baby, appear in Taitung for twenty days and experience the reality of life. 2.A series of images show contacts with strangers to present the relationship building up between people and people. 3.Walk around fifteen areas, including Chihshang, Guanshan, Ruihe, Ruiyuan, Hongye, Luye, Chulu, Binlang, Fuyuan, Beinan, Taitung, Taimali, Chihben, Tuban and Taiban.  

【融合】 2012 150×150×175cm 陶、鐵 在太平洋成千上萬個島嶼中，居住說著一千二百多種不同語言的近三億人口，經由語言追溯有著共同的祖先。有許多語言學家都認為，臺灣就是所謂的南島語族原鄉。而作者就以地球融合的概念，將臺灣及各島嶼之南島語系族人的特色樣貌一一呈現在地球上。       【Fusion】 2012 150×150×175cm Pottery, iron Nearly three hundred million residents stay on thousands of islands in the Pacific Ocean, speaking over twelve hundred different languages. People are traced back to their Ancestors through languages. Many linguists believe that Taiwan is the so-called homeland of the Austronesian family. Based on the concept of global fusion, the artist presents the globe with the distinct features of Austronesian peoples in Taiwan and on other islands.

【獵人悲歌】 2012 93×93×118cm 多媒材 以「獵人」在山林與大自然共存哲理詮釋作品呈現。暗喻著失去了守護的獵區，唱呀…泣呀…山不是山、海不是海、大地碧綠不再、天空的蔚藍變為沉灰…   在排灣族語裡，獵人稱為「rusa (1)  cemecemelj (2)」(3)，是「山中之藥」或「山林的醫生」之意，在部落裡是具有大自然及山林哲學的智者，懂得取之平衡才得以循環，生命延續與萬物共存。反思，現代土地表面的人類因為自私貪婪，不思量而取、忘了謙卑、予取予求，不知如何感恩與分享…哀…   作品雖不是以自然素材呈現，思考著從一個最基本的現代人位置與大自然對話，讓想法不知穿越了多少時空反思傳統，適度以現代回收機械零件、廢五金呈現點、線、面組合的型式，試圖讓作品在視覺上能沁入心靈，產生平衡與反思。       【The Elegy of Hunter】   2012 93×93×118cm Multi-media The work presents the philosophy of the hunter’s coexistence with nature. It also implies that the mountains, seas and lush green landscapes are no longer what they used to be in full glory. In the language of the Paiwan people, hunters are called “rusa cemecemelj,” which means “medicine in the mountain” or “doctor in the forest.” In tribes, they are the wise men with a philosophical relationship with nature. Before knowing how to hunt, they must first learn how to protect the mountains, to respect nature and to find a balance between hunting and protecting its natural cycles. Thus, life can continue to thrive while alongside people. We all should introspect that humans of the modern land have become selfish and greedy, taking whatever they want without any consideration; forgetting to be humble. It is regrettable that they don’t even really know how to share things among ourselves. Although the work isn’t based on natural materials, it presents a dialogue between the basic modern people and nature. It allows the ideas to flow both traditionally and nontraditionally. Scraps of metal are used to present a combination of points, lines, and surfaces. It attempts to enter the viewers’ mind visually, thus creating a balance and introspection in one’s mind.

【AB • ORIGINAL】 2012 150×150×200cm 複合媒材 今年初因緣際會到了臺東，隨處看看，逛了位於卑南鄉的城鄉回收場與中興路的牧心回收站，也撿拾了一堆東西，包括紙類，塑膠等等。我想運用這些東西來創作，在上面畫上關於（Austronesian）的圖像或些許的改變，企圖讓物件與圖像的意義連結，希望可以跨越時空、時間的隔閡，讓自己優遊在藝術與歷史的氛圍裡，也期許大家可以感受到南島的生命力。       【AB • ORIGINAL】 2012 150×150×200cm Mixed media Earlierthis year, I had a chance to go to Taitung. I looked around and visited tworecycling stations, which were located on Chung Hsing Road in the downtown andin Peinan township. I picked up some stuff, such as paper, plastics, and etc. Iwanted to use these materials for art making and draw some Austronesia-relatedimagery. It is expected to connect objects and images meaningfully. Across thegap of time and space, I wish to let myself linger in an artistic andhistorical atmosphere, also expecting everyone to feel Austronesian vitality.

【山景】 2012 50.8×38.1cm 蛋彩、畫板 對我而言，大自然是一個連續不斷的靈感來源。我比較喜歡把自然景觀做為作品的珍貴主題，高山、樹木、天空下的山谷、小溪等，都是我喜愛描繪的自然元素。我玩著它們的形狀和顏色，畫出相異於它們原本的形狀和配色，並加上自己的想像。蛋彩畫是我首選媒介。我在平面色彩上添加色調變化，用陰影與明亮增強風景如詩如畫的美麗。因此，當描繪自然的各種情緒時，我感到自己是健康、振奮的，覺得自己與自然融為一體，不再擁有自我，如同變成一個媒介，將自然的甜美自動釋放出來。 整幅作品描繪河流穿過的山谷，某幾處看得到房屋。天空、土地和河流讚頌彼此的豐富色彩，其間的深色線條，突顯地表的顏色；四處可見的藍色增添了視覺愉悅與色彩和諧。對我而言，全畫反映出寧靜的氣氛，直接影響觀眾心靈。   【Hillscape】 2012 50.8×38.1cm Tempera on board To me, Nature is a source of constant inspiration. I prefer natural landscapes as a cherished subject of my works. Mountains, trees, valleys under the open sky, streams - these are some of the various natural elements that I love to depict. I play with their forms and colors. I often deviate from their natural forms and color schemes and try to utilize my own imagination. Tempera is my preferred medium. I try to apply flat colors with tonal variations. The lyrical beauty of a landscape is further enhanced with dark shadows and highlights. Thus portraying nature in her various moods, I feel myself healed and elevated. I feel myself merged and my ‘I’ seems to be lost thereby. As if I become a medium and let free that spontaneous flow of nature’s sweetness. The entry work depicts a valley with a river flowing across. Houses are seen at some places. The sky, the land and the river - all of them compliment each other in terms of color variety. The dark lines in between make prominent the colors of the land surfaces. The touch of blue here and there adds to visual pleasure and color harmony. To me, the picture overall reflects a serene atmosphere which impacts the viewer’s mind directly.

【哭泣的燈塔】 2012 40×57×2cm 膠合板、沙、硬紙板   這件作品直接延續了之前有關建築與自然景觀的作品，由不同類型、取自以色列不同地方的膠合板及土壤所創作而成。透過綠島燈塔和懸崖的圖像，我在我工作之處－以色列－描繪臺灣在地風景，其中最吸引我之處是對比的部分：海岸和懸崖的自然風景對比人造的燈塔；細緻的剪裁對比膠合板自然的破裂；以及由沙子組成的海洋，將畫面變成沙漠。   我創作的燈塔屬於超現實，看起來彷彿在哭泣，淚水流進海洋。它的存在僅是昔日歲月的建築遺跡，陪伴著我的一個景象而已，不再提供任何功能。       【The Weeping Lighthouse】   2012 40×57×2cm Veneer, sand and cardboard   This work is a direct continuation ofprevious works in which I deal with architectural and natural landscapes. Thework was created from different types of veneer and soils that were gathered indifferent locations in Israel. I engage with Taiwan's local landscape fromIsrael, in which I work, through the images of the lighthouse and cliff inGreen Island. The contrasts that interest me in the piece are: the naturallandscape of the sea and cliff against the manmade lighthouse; meticulouscutting against natural breaking of the veneer; and the sea made of dry sand,which turns the image into a desert.   Thelighthouse I created is surreal and looks as though it is weeping, its tearsflowing to the sea, a notion that accompanies me in light of its existence asan architectural remnant of bygone days, which no longer serves any function.

【石頭山水】 2011 180×100cm 複合媒材 當城市的發展快速下，我們似乎忘掉了自然中的大小美景，鏡像裡不同的視角將石頭創造如山脈的視野，使平常易忽略的石頭小景，產生出不一樣的視線觀看，也讓自然純淨表現出來。此外，在畫面上創造新的刺點，此刺點是對於鏡像裡石頭空間的想像，經由繪畫形成衝突與融合，將有如山水畫裡的透視，讓石頭的影像呈現出豐富的故事，回到自然中玩耍。   一種童夢，一種遊戲，讓視線產生一種循環。一種靜靜的感受，由下往上靜悄悄的熱鬧場面，畫面之間產生如有此景般的超現實，是一種小時候的佔領，常常為了要佔據一種屬於自己的空間，就在那空間中做記號，也為了表示自己的存在感，因而在影像中畫出自我的夢想場景，從吵雜的城市中回歸到自然裡的單純與純淨。       【Landscapes of Stone】 2011 180×100cm Mixed media As cities develop rapidly, we seem to forget the beauty of natural scenery. From distinct perspectives, stones can mirror mountainous scenes. Thus, the stone scenes which are easily ignored could be seen in with new life and natural purity can shine through. In addition, this work creates a new reference point which relates to the imaginary space between the stone and the drawings. Creating an atmosphere of childhood, play, and serenity, an imaginary space for one to escape the bombardment of both visual and verbal signals present in most urban cities. For my own escape, I paint my own peaceful scene to enter, to meditate, and to contemplate.

【魚浪】 2012 53×45cm 油彩 達悟青年背對著妻子的埋怨、母親的勸阻，固執地出海。 冷風刺骨、浪高如樓的季節，達悟青年找到自己的尊嚴。 那天的飛魚穿過浪的頂端飛舞。無．窮．無．盡       【Wave of Alibangang】 2012 53×45cm Oil paint Despite of his wife’s complaint and his mother’s dissuasion, a Tao young man stubbornly insists on sailing to the sea. During the season of high tides and winds, it is exactly this reason that entices him to set sail to find pride in his bravery. Flying fish hovered over the top of the waves that day, endlessly.