【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.