【山的低鳴】 2012 200×120×5cm 紙、顏料、蠟筆 是一種最原始的情緒，在最自然的狀態下，出現在我所建構的二度空間內，沒有參雜多餘的情緒，是一種自我告白的儀式，繪畫本應保有其純真，存在的依據是因為我相信。相信那山林間最原始的歌聲。   【Mountain Purring】 2012 200×120×5cm Paper, paint, crayon Emotions under the most primal state are most natural. What emerges is a two dimensional space that I constructed. Without excess emotions, it is a kind of a way to confront the self. Drawing as well as painting should retain its purity. Existence is based on what I believe, believing in the most primeval voices in the forest and the mountains.

【陽光下的仙人掌花園】 2011 組裝後尺寸依照實際空間而定 絲襪、棉花、塑膠 「陽光下的仙人掌花園」整組作品以黃色調為主要呈現，說明在陽光的滋潤下，仙人掌生長的美麗姿態。透過「仙人掌」說明生長在乾枯的地表上，縱使沒有豐沛的水源與養份使其茁壯，也能因為陽光的灑落的美好伴隨成長，盛開出美麗的花朵。   【The Cactus Garden in the Sun】 2011 The work’s size differs after assembly in accordance with the actual space Silk stocking, cotton, plastic The entire work is presented with a yellow tint. It shows the beautiful gestures of cacti growing under the sun. The artist expresses even with the scarcity of water and nutrients in the dry desert land, the cacti will still grow and reach full bloom due to the good company of the sun.

【起煙】   2014 350×600×500cm 壓克力顏料、畫布、複合媒材   這是一個來自天上的警告:   挨在炕旁享受著聲音、味道，享受著熟悉的溫暖。   可是在邁向富足的同時，若沒有持續添著木材只會讓火堆越來越小，雖然你們都看到了煙漸漸濃密，而且它溫柔含蓄的想要大聲提醒。   遲早有一天火燄會熄滅，連繫祖先的通道也必將消失，剩下的或許只有那點不起來的火種，以及張牙舞爪又綿延不斷的廣告旗吧。       【 pu cevulj 】   2014 350×600×500cm Acrylic paint, canvas, Mixed media   This is a warning from the heavens:   Lean against the heated kang and enjoy the sound, smell, familiar warmth.   But as you march towards wealth, if you do not add wood at the same time, the fire will eventually die down. Even though you see thick smoke gradually appearing, it gently suggests a loud reminder that.   one day the flame will burn out and the access to our ancestors will disappear. What is left may be insufficient kindling, unable to start a fire, and the continuous threatening gestures of banners.

【圖騰的呼喚】 2012 70×50cm 壓克力顏料、油性筆、瓦楞紙   圖騰為人類對生命體驗的同時對宇宙自然關係中一種原始的崇敬表現方式，也是一種靈性的體驗。   作品媒材以身邊可取得之材料（鞋盒）加以運用創作，無論何種事物皆發生在宇宙自然間的奇妙創作，因此任何材料皆可延伸想像持續擴展創造新的生命。   展開材料本身，巧妙的外型如同一副原始的人偶，在其中將具涵義的圖騰展現出來－以紋面的形式畫出頭的部份，手的位置各以生與死的意象連接，意喻著靈魂的生生不息，身體的兩側以「魚」與「鳥」的圖形表示生命如同水中的魚、空中的鳥一般地自在優遊，腳的部份以「月亮」與「太陽」展現陰與陽，也意指受到日月的照護，身體中間貫穿了生命之樹，象徵著萬物共生、且豐厚飽滿的生命。   金色的底意味著受太陽之神的眷顧，有著欣欣向榮的活力泉源。       【The Call of the Totem】   2012 70×50cm Acrylic paint, oil felt pen, corrugated paper    Totems are our life experience as well as a way of showing primitive reverence to the relationship we have with the universe, as well as being a spiritual experience. The material of this work can easily be obtained from shoeboxes or whatever material found in nature that can be given a new life. Therefore any material can be used to extend imagination and be given a new context. As the material itself is being unfolded, its appearance resembles a primitive puppet that is covered in meaningful totems. The head painted in the pattern of aboriginal facial tattoos; hands painted to connect imageries of life and death representing the endless soul. On both sides of the body, the fish and bird represent freedom as one swims in water or to be soaring in the sky freely. Feet painted in the shape of the sun and the moon with a ‘ying yang’ under the care of the sun and the moon. A tree of life penetrates the middle of the body, which symbolizes coexistence of all creatures and the abundance of life. The Gold in the background means the blessing from the god of the Sun with the source of thriving vitality.

【啦~啦~啦~小島】   2011 5分33秒 錄像裝置   我出生在亞洲東部、太平洋西北側、面積約3.6萬平方公里的島嶼「臺灣」，因為住在島嶼，對於海洋有著一種歸屬感，就像一艘船在遼闊的海上飄來盪去，我總喜愛處在起點與終點之間的狀態，「旅途中」就像藝術創作之於我的「創作中」！   【啦~啦~啦~小島】是我2011駐村在印度洋西側的馬達加斯加群島之一的南島「留尼旺」的作品。留尼旺跟臺灣一樣有著殖民時代的歷史是法國海外省，也有著南島的特色多元文化，島上有穆斯林的阿拉伯人、印度人、法國人、梅縣客家人、克萊愛爾原住民黑人等多種族。所以作品裡我和一個原住民黑人與印度人在最後的聖地卡拉利對打一番，象徵殖民時代的戰爭，我分別又在法國建築與穆斯林廟宇玩中國的彩帶，意味著多文化的混血。   我時常裝扮成有魔力的怪獸、仙女、少女等角色，在文明的城市或是悠然的大自然中，透過現場行為的藝術形式，猶如小孩嬉戲的原始本能，再以錄像藝術呈現作品。       【La~La~La~ The Islet】   2011 5 minutes 33 seconds Video   I was born in Taiwan, a 36,000-square-kilometer island located in eastern Asia and on the northwest side of the Pacific Ocean. As living on the island, I have a sense of belonging for the ocean, just like a boat sailing on the vast ocean. I always love to stay in the state between the starting point and terminal point. To me, “being on a journey “is like ‘creating’ an artistic creation.   This work “La~La~La~Little Islet” was created in 2011 when I resided in Reunion, one Austronesia island of Madagascar Islands on the west side of the Indian Ocean. Reunion has a history of colonial era by France and diverse Austronesian cultures like Taiwan. There are many ethnic groups on the island, including Muslim Arabs, Indians, French, Hakka people and Irish indigenous blacks. Therefore, I fight with an indigenous black and an Indian on the finally holy land in the video, which symbolizes the war during the colonial era. I also play with the Chinese colored ribbons in a French-style building and a Muslim temple, which means a hybrid multiple culture.   I often play at being a monster, a fairy and a girl with magic power. In a civilized city or leisurely nature, this kind of artistic form of live behavior is presented in the video like children’s original instinct of playing around.

【樂舞南島】 2012 162×130cm 油彩、畫布 南島語族原真善良，大自然賦予海洋與土地純淨豐美，族群皆擅歌能舞。南島語族樂天、敬天，六千年前以臺灣為起點，開始遷徙，經過七個階段的擴散，形成近年所認定北起臺灣，東至復活島，西到馬達加斯加，南抵紐西蘭的南島民語族範圍，可見臺灣位居南島原鄉。   跨越與連結－南島共通語言－Mata（眼）、Lima（手）、Mana（神靈）。熱帶、海洋的自然素材，創造出南島語族的歌舞奔放自由，三個女子象徵跨越與連結，背景臺東的蓮花圖騰，映射著臺灣是南島原鄉，原色色彩帶領我們在視覺與情感回歸簡單質樸的感官與情緒。整幅畫的色彩與形象跨越疆界，表現出南島語族之間血濃於水的原生串聯。       【Mata, Lima, Mana】 2012 162×130cm Oil paint, canvas   With the pure ocean and a fertile land bestowed by nature, Austronesian people are trusting, kind, unpretentious, and masterful both in dance and song. People of Austronesia are spirited and pay a lot of respect to nature. Six thousand years ago, the migration from Taiwan had expanded into seven stages. The migration ranges from Taiwan in the north, Easter Island in the east, Madagascar in the west and New Zealand in the south. Taiwan seems to be the origin of all these migrants.   Transcending distance and culture, Austronesians have a few common words commonly shared such as – Mata (eye), Lima (hand), and Mana (god). Austronesia’s free, expressive, and unrestrained style of dance and song are both influenced by the tropical weather and by the ocean. These three women symbolize the interconnection between the different groups. The lotus totem from Taitung used as the backdrop reflects Taiwan as the Austronesian homeland. The primary colors represent our visions and emotions at its most rudimentary level. Colors and Images in this work cross boundaries and bring the people of Austronesia together.  

【與他們同在-7】   2012 78×78cm 鉛筆、炭筆、紙張   這一系列的創作都源自於環境使然，動植物是我平日生活起居極常見的，對於它們的習性、構造也是了然於胸。在長久與他們的相處中，其中物種、生態的相互依存的哲理與近乎無聲且無息中的溝通模式，是我最感興趣的。我運用常用的鉛筆描繪它們，也同時把我那股近乎本能的動物之魂嵌入它們的世界。   這系列素描創作的運筆較接近古典而沒有過多的線條，但經一一細節的繪畫，我企圖從素描筆觸的運作中，搜尋我自己創作當下心靈的抽波和身體的律動，進而去理解我與它們之間的莫名連結，牽動生命歷程中與它們相關的某種熟悉，我期許從自己的創作觀中，看到剖析自我並與之共存的過程，進而重塑我與這個自然世界的相對關係。       【Together with Them-7】   2012 78×78cm Pencil, charcoal, paper   The creation series is derived from the environment. Animals and plants are commonly seen in my daily life, and I am quite familiar with their habits and anatomy. After countless years of observation and living amongst them, I am interested in the philosophy of the interdependency between the species and its environment; the ways they communicate with none verbal cues. I chose the most primal tool－the pencil as my tool to depict them, so to embody the animal and primal instinct with each stroke I make. These series of drawings are rendered in a classical manner, leaving little to no suggestion of a mark-making tool. In the process of drawing these images, I contemplated my own inner being, my body, and the rhythm as I was making these series of sketches. I also tried to understand my relationship with them as well as to reconnect with them through my art practice.

【漂流的幻滅與生機】 2012 147×47×99cm 玻璃   漂流木來自於自然環境變遷中的一個傷痕象徵性顯像物，其自然傷痕造就不同族群的藝術工作者以漂流木延續個別的文化累進。   本作品「漂流的幻滅與生機」不直接引用漂流木本體，而以玻璃材質穿透、映入之特性，傳述歷史進程中所刻劃的軌跡，並以玻璃材質擬態漂流木在地生長、生命結束（自然及非自然造成）；自然災害所造成之流出、再迴流（臺灣早期歷史文化中，文化的交融，許多文化的進入、遷出是透過洋流與季風）。漂流木的生命輪迴，仿若是臺灣歷史建構軌跡的縮影。       【Disillusionment and Vigor of Drifting】   2012 147×47×99cm Glass   Driftwood refers to a symbolic scar in the change of the natural environment. This natural scar allows artists from different ethnic groups to continually create artistic creations across different cultures. The artist did not apply driftwood in this work. He uses glass’s penetrative and reflective characteristics to express the traces left in historical processes. Moreover, he uses glass to mimic driftwood’s growth as well as its degenerative nature. Natural disasters result in outflows and whirls. (In Taiwan’s early history and culture, the integration of culture, such as entrance or migration of many cultures, occurred by means of ocean currents and monsoons.) Driftwood’s cycle of life seems like an epitome of construction in Taiwan’s history.

【在尋找之前找尋】 2012 150×150×200cm  木、羊毛、纖維、貝殼、鐵  在尋找的概念出現之前找尋  在迷失的現象發生之前迷失  在被文明命名之前歌詠眾神      為了星球的平衡  為了香料的誘惑  為了不斷前來的未知      是獨舟是航空器也是種子 在微傾23.5度星球上 在不斷擴張的星空中     找尋那尋找的意義 誇耀那驚險的旅程 成為到達彼岸的第一人       【Odyssey】   2012 150×150×200cm   Wood, wool, fiber, shell, iron   To search for the concept before it appears To get lost before the idea of being lost To warship the gods before being civilized   For the balance of the planet For the temptations of spices For the unstoppable unfolding of the unknown   It is a canoe, an aircraft and a seed On the planet tilted 23.5 degrees In an expanding starry sky   To look for the meaning of searching To be proud of an perilous journey To become the first person to reach the destination.

【Ma Rir Na Pio】 2012 80×120cm 版畫（水印木刻） “Ma Rir Na Pio”是蘭嶼達悟族語的羅馬拼音，譯義為「兄弟們或孩子們」。畫中蘭嶼海景、拼板舟及達悟族人，和諧地呈現南島風情。畫中人物有壯年、青年、兒童，展現各年齡層達悟男兒的意氣煥發。「兄弟們或孩子們」除了意含世代傳承，也蘊含長輩對晚輩的期許、關愛及提攜。   【Ma Rir Na Pio】 2012 80×120cm Woodblock (print by the medium of water) “Ma Rir Na Pio” is the Roman Alphabet of Tao ethnic language in Lanyu, interpreted as “ brothers or children.” Lanyu’s sea scenery, canoe and Tao people in this painting represent Austronesia folkway in harmony. The characters in this painting including adults, youths and children show Tao men’s enthusiasm and energy in different ages. The work “brothers and children” not only represents inheritance over the generations but also implies the expectations, care and guidance for the junior generation from the elders.