【2012你的海洋我來發現－久愛花蓮】 2012 103×102cm 壓克力顏料 花蓮出產的大理石和玫瑰石、炎炎夏日盛產的大西瓜，還有花蓮港的曼波魚、七星潭清晨的日出美景、新城太魯閣的峽谷奇景，以及原住民特色的豐年祭和成年禮系列活動。   【TheInfinity of the Ocean: Love, Hualien, 2012】 2012 103×102cm Acrylic paint This work presents marble and rose stones produced in Hualien, bigwatermelons growing during the summer, mola fish from Hualien Harbor, beautifulsunrises in the early morning of Chisingtan, Wonders of Taroko Gorge,indigenous-style harvest festivals and adult ceremonies.    

【根】 2012 60.5×150cm 壓克力顏料 與自然一同呼吸，觀察一片葉子的榮枯，彷彿目賭自身的過去與未來。等待被繼承的圖騰是一種無聲的引領，如同祖先驕傲的姓氏，拓印在靈魂上，內化為我們的一部份。  樹根般的脈絡構成軀體，纏繞著生活、想法，並以一種神祕的路徑傳遞、連結，諭示著一個人的存在並非偶然的結果，而是思念的匯流，無數情感的聚合體。葉狀的臉孔反覆重疊，承繼並新生，如同生命緩慢而神聖的過程。   【The Roots】 2012 60.5×150cm Acrylic paint When we are one with natural, we can then observe the prosperity, propensity, and wilt of nature, as if we are witnessing our own past and future. Guiding us silently, the Totem patterns of our ancestor are proud and inherent in our soul. Like roots to a tree and an inseparable relationship, metaphorically speaking, the existence of a person is not an accidental consequence but rather the confluence of thoughts as well as a fusion of numerous emotions. Leaf-like faces repeat, overlap, inherit and reborn, like the endless cycle of life.

【The Passage of Time II】 2011 整組作品尺寸依照實際空間而定 錄像、書、水墨、輸出影像 以原始圖騰為出發點，依序頁數記錄人本的記憶與時間，將翻閱的內容為視覺語言，探討已逝作家與藝術工作者之間情感，以文本與繪畫的視覺語言呈現彼此的對談，內容以文件的方式呈現，藝術工作者以書的形式呈現給觀眾，且在書厚度的頁面上書寫文字抒發與作家作品的情感交流，形成一張張的頁面，陳述彼此因不同的時間相遇且創作共同的回憶。探討翻閱後紙張的展延所做的視覺性閱讀，及一頁頁之間的觀看與停留所產生的視覺性的語言，經過時間性的交錯而產生內容及意義所延伸的記憶。       【The Passage of Time II】 2011 The work’s size depends on the actual space. Video, book, ink, image output It begins from original totems as a starting point, then recording humans’ memories and times in order. The visual language is regarded as content which can be leafed through. It explores the emotions between a deceased writer and an artist. Visual language of text and painting is used to present their conversation and the content is presented on the papers. The artist presents to the audience in a book form, writing on pages to depict how they met each other in different periods of times and created mutual memories. This work explores visual reading of the page extension as well as a visual language generated by the temporary stay after paging through. It also keeps memories extended from the content and meaning after the passage of time.   以原始圖騰為出發點，依序頁數記錄人本的記憶與時間，將翻閱的內容為視覺語言，探討已逝作家與藝術工作者之間情感，以文本與繪畫的視覺語言呈現彼此的對談，內容以文件的方式呈現，藝術工作者以書的形式呈現給觀眾，且在書厚度的頁面上書寫文字抒發與作家作品的情感交流，形成一張張的頁面，陳述彼此因不同的時間相遇且創作共同的回憶。探討翻閱後紙張的展延所做的視覺性閱讀，及一頁頁之間的觀看與停留所產生的視覺性的語言，經過時間性的交錯而產生內容及意義所延伸的記憶。

【Wallacean Form #31】   2011 115×200cm 氧化鐵紅石材手工研磨塗料和黑墨水   我的藝術創作包括繪畫、裝配藝術、聲音雕塑、特定地點裝置藝術、原創音樂會及表演藝術活動，我的作品反應澳洲的風景及其相關美學與多元文化經驗。它是一種文化認同的追求，也是一種處於風景內的歸屬感。我的素材很容易從環境中取得：木材、貝殼、骨、鏽鐵和各種天然碎石，我在澳洲草樹的樹脂上畫書法畫，並從家裡附近的海邊蒐集氧化鐵紅石，磨碎後做成大地紅色的顏料。   Wallacean系列的作品就是用這種氧化鐵紅石顏料做成的。在這系列中有想像的、抽象的植物、動物和類似人類的形體，靈感來自巨大的大陸棚碰撞之處，也就是Alfred Russel Wallace（1823-1913）所提出的假設線，標示出亞洲與澳洲動物地理區的界線。   我的經驗和旅行閱歷告訴我，文化差異很少會變成障礙，因為相互交流近乎人類本性。       【Wallacean Form #31】   2011 115×200cm Red oxide stones hand ground paint and black ink   My artistic activities embrace painting, assemblage, sound sculpture, site-specific installation, concerts of original music and performance art events. My work is in response to the Australian landscape, and its associated aesthetic and multi-cultural experience. It is a search for cultural identity and a sense for place in this landscape. I choose materials readily sourced from my environment: wood, shell, bone, rusted iron and all manner of natural detritus. I make calligraphic paintings in Xanthorreoa (grass tree) resin and collect red oxide stones from the shoreline of the ocean near my home and grind them together to make a rich earth-red pigment.   The Wallacean Series is executed in this red oxide pigment. The imagined, abstract flora, fauna and humanoid forms in the series are inspired by that formidable place where the great continental shelves collide* i.e.: the hypothetical line, proposed by Alfred Russel Wallace (1823–1913), marking the boundary between the Oriental and Australian zoogeographical regions.   My experience and travels tells me that cultural difference is rarely a barrier and that mutual exchange is akin to human nature.

【原生孕育】        2012 79.2×109.2cm 水墨 臺灣這美麗的小島孕育了許多生命與特色。在這原始小島中的人類、動物，共同創造文化信仰及圖騰特色。太陽神的孩子、百步蛇神聖守護神及圖騰的神秘力量，環繞著這神祕且文化富裕的民族。   【Native Breeding】      2012 79.2×109.2cm Ink Taiwan, the beautiful island, is a fertile ground of character and life. Both people and wildlife on this island influenced cultural beliefs and totem patterns. Children of the Sun god, sacred guardian spirits of the hundred-pace snake and secret power of the totem coexist mysteriously with these culturally rich people of Taiwan.

【未來術】 2012 194×130cm 壓克力顏料、畫布 作者想表達，在我們的心裡一直存在某種倔強的東西，人本身的狀態其實也不是單一的。為了企圖尋求一種可發展的「未來」可能性，人就在很多自然物與環境中，形成一個永遠開放的現實過程，既不是有一天成為「現在」或者「過去」，而是任由自己的、凝視自己的，好像可以將本質赤裸裸地攤開。   【Time Travel】 2012 194×130cm Acrylic paint, canvas The creator of the piece hopes to express a certain kind of unyieldingness hidden in our consciousness. Human awareness are not completely independent. In the search of a future of possibilities, we tend to construct a reality of openness amidst both nature and our surrounding. The openness is neither “now” nor the “past,” rather it is an openness that is capable of stripping away one’s ego and expose one’s true essence.

【後現代的賽伯格—賽伯格之戀I】 2012 145×97cm 瀝青、汽油、麥克筆、亮片銀粉、焊錫   【賽伯格之戀】為描寫賽伯格世界虛擬且肉慾的情感，暗喻近年來透過網路的愛慾展現，如：網路性愛、援交使互不熟識的彼此進行肢體接觸與交流，不須負責只要享受的過程，帶動人類慾望的無窮擴張，讓性愛拆解為有「性」無「愛」；青少年深受網路大量的情色資訊洗腦，同時造就許多性觀念的誤解扭曲。   作品畫面描繪女性自瀆且達到性高潮的場景，如同情色片、視訊援交的拍攝角度，女角正面張開「M字腿」的姿態，彷彿展示給他人所觀賞。背景大量冷金屬色的應用，暗示這樣的情慾行為是冷感的，在主體高潮與背景冷感的情緒矛盾下，揭露經由視訊、網路、數位影片形成的性行為，終究是觀賞者單方面慾望的迸發、流竄，難以與他人情感有所交集。       【Postmodernism Cyborg: Cyborg’s Romance I】   2012 145×97cm Asphalt, gasoline, marker pen, silver power, soldering tin   【Cyborg’s Romance】depicts a virtual and sensual emotion in the Cyborg world, implying Internet love and sensual expression in recent years. Cyber sex and Internet prostitution offers an opportunity for people who are complete strangers to conduct physical contact and exchange. They do not pay any responsibility but to fully enjoy the process. It drives the endless expansion of human desire, dismantling lovemaking into “sex” without “love.” Young people are deeply brainwashed by a large amount of erotic signals on the Internet thus normalizing it in the process. Video dating, erotic videos and pornographic websites are abundant, all of which distorting the concept of sex. This work depicts a scene in which a female masturbates and reaches orgasm from the angle similar to how pornographic videos are shot. The female character is asked to open her legs, showing her privates generously. A large amount of cold metal colours are applied to the background, suggesting that this kind of sexual behavior is apathetic. Under the emotional contradictions between the theme reaching a climax but the background remains cold (colorwise), it aims to expose the real aspect of sexual behaviors on videos, the Internet and digital photographs. After all, it is viewers’ unilateral burst and flow of desire; it is difficult to get into any communication with others’ true feelings.

【東方之家】   2010 130×97cm   油彩、壓克力顏料、畫布   這幅畫是從我以前的黑墨素描作品裡的其中一件創作而出。所有素描作品背後的概念都出於自然。當我居住在被自然環繞的海灘小屋、門口面對太平洋時，它們就這樣形成了。我讓我的創作思想順從自然精神，感覺完全與環境和平相處。一種根深蒂固地與自然和諧相處，在內心開始成長，點燃我作畫的熱情。我永遠都不會背棄這種感覺、這種認知。   這幅畫是我首件從素描變成大型油畫的作品，並以朱紅色做為主要構圖線條。對我而言，紅色是精神的顏色，可表現自然場景的溫暖。整幅畫布在畫滿所有其他顏色前充滿了溫暖夕陽色調。畫這樣的場景非常接近內心，因為我熱愛大海，並總想靠近它。由於住在臺北過久，南方、陽光吸引著我。我必須再次與自然融為一體。   這幅作品是我在臺東的都蘭找到住處後所完成的，看來的確是個明智的決定。大自然中的和平、和諧及積極的能量，從此助長我的創作之道。我調色盤上的顏色再次活了過來，畫筆在畫布上恣意跳動，彷彿慶祝自然一般。它是我靈魂的治療，繪畫就像是我生命的自然熱情。這幅作品向生命與自然的和諧相處致敬。       【Home in the East】   2010 130×97cm   Oil and acrylic on canvas   This painting is created from one of my original black ink spirit drawings. The concept behind all the spirit drawings is derived from nature. They first came into being while living in a beach hut engulfed by nature and with the Pacific ocean at my door. Letting my creative mind be dictated to by the very spirits of nature. Feeling completely at peace with my surroundings. A deep rooted harmony with nature began to grow inside me which lit the fire of my passion for painting. I will never turn my back on this feeling, this understanding.   This work is the first spirit drawing to become a large scale oil painting. I chose vermilion red as its compositional lines. Red to me, is the colour of the spirit and expresses the warmth I feel when painting scenes from nature. The entire canvas was painted a warm sunset tone before all other colours were achieved. Painting a scene like this is very close to my heart. I have a love for the ocean and always want to be near her. Taipei city had been home for long enough, I soon felt myself being drawn to the south, to the sun. I needed to be at one with nature again.   This work was painted once I had found my place in Dulan in Taitung. A wise decision indeed. The peace, harmony and positive energy among the nature here has been fueling my creative path ever since. The colours of my palette have sprung back to life and my brush dances upon the canvas as if in celebration of Mother Nature herself. It is if you will, therapy for my soul. Painting is my life’s natural passion. This work is homage to the harmony of life with nature.

【空島】 2011 145×145×5cm 壓克力顏料 智慧型手機和平板電腦以驚人的速度蔓延在我們的日常生活，它幫我們建立了一個新的、隨身的虛擬空間。尤其在公共場所，它讓每個人變成孤島，或者說虛擬漂浮的「空島」，空島裡面繽紛華美、自給自足、自己圓滿。如果這個智慧型電子產品的背面如果刻上蘋果標誌，甚至能給人一份小小的優越感，只要躲進螢幕顯示得畫面裡，就能很確實地幫我們躲掉與陌生人四目相對的尷尬；取代而來的是整個空間瀰漫著一股凝滯不動氣氛的新尷尬。我常認為，這些忙著自轉的空島，體現的不是現代人極端忙碌的生活步調，而是極端寂寞卻不敢跨越寂寞的疏離。   【An Island in the Sky】 2011 145×145×5cm Acrylic paint Smart phones and digital tablets are being infused into our daily life in an astounding pace. They have helped construct a new and portable virtual space. Especially in public spaces, these devices isolate individuals thus turning each individual into isolated islands or virtual floating “islands in the sky”, which are colorful, self-sufficient, and self-satisfactory. If these smart electronic devices carry an Apple logo it can even provide people with a small sense of superiority. As long as we are behind screens, we can avoid feeling embarrassed when making eye contact with strangers. Instead, the entire space is filled with a new fixed atmosphere of embarrassment. I always thought that this revolving island reflects not only the extremely fast pace of life now but also the alienation that people in extreme loneliness dare not to walk across.

【山海經緯線 作品編號 C 3016-3020】 2011 尺寸依場地與條件限制決定 照片輸出 這一個系列作品皆以連作呈現，我試圖透過山海的橫向鋪陳，階梯結構的遞增或遞降發展，或形式展現上的再開拓視覺新義。在照片與照片之間的空缺留下的不只是視覺上的連接，更是一種從有限到無限的延伸，形成我與曾經走過之地，作品與風景原地，乃至與寰宇之間，如同經緯線一般的編織（textus）發展，無盡環繞與擴大，探討山水的文本（texte）。   【Longitude and Latitude of Mountains and Sea No. C3016-3020】 2011 The work’s size depends on the site and on-the-spot conditions. Photograph This work is presented with the continuity of photographs. I re-explore a new visual definition by presenting the mountain and ocean lying in a transverse elaboration, the ascending or descending development of the ladder structure or unfolding forms. The vacancy left among these photographs is not only a visual connection but also an extension from limit to limitless. It forms places which my past and I have been to, the work and its original scenery, and even the universe, like the textus development of the latitude and the longitude. It encircles and expands endlessly to explore the texte of the landscape.