【住在柬埔寨】 2012 147×114×3cm 壓克力顏料 居住於柬埔寨的部份族群也屬於南島語族成員之一。一次的旅行，我迷上了這裡。柬埔寨的居民們，大多是弱勢的，它們靠著觀光，賺點小費，勉強地維持生活。但他們依然表現出熱情和活力的樣子! 我不畫代表柬埔寨的吳哥窟，也不畫著名的女皇宮。我要畫他們的生活，真實的柬埔寨。 畫開心就唱歌跳舞的人群、畫有著兩棵樹就可以睡覺的人、畫小販、高腳屋、水上人家…我是臺灣人，是個觀光客，但我希望能畫出柬埔寨人眼中的柬埔寨，畫出這裡堅韌的生命力。   【Living in Cambodia】 2012 147×114×3cm Acrylic paint Some tribes in Cambodia are also parts of the Austronesian family, and because of a trip there, I fell in love with the country. Most of Cambodian residents are exposed to hardship; they rely heavily on tourism to earn a living to barely sustain their life. Despite of the hardships, their enthusiasm and vitality still shines through. My painting does represent neither Angkor Wat nor Banteay Srei. I wanted to paint their lives; the real Cambodia. I paint happy crowds dancing and singing, people sleeping under the two trees, street vendors, stilt houses and boat dwellers. I am a Taiwanese as well as a tourist. But I hope that my depiction of Cambodia is the Cambodia to the locals full of life and enthusiasm.

【斷尾圖】   2012 100×200×2cm 膠彩、壓克力顏料、麻布   【斷尾圖】的想法來自於蘭嶼的雅美鱗趾虎，牠是蘭嶼的特有種，在海洋圍繞的島嶼中生成。海洋的角色成了生命擴展的限制，同時也是獨特發展的助力。   我將牠的背景、神話傳說，以及自已的經驗互相地交疊重組，形成蘊含力量且帶有神秘色彩的圖像。限制和助長在自然中並非如語言中那麼絕對地對立且二元，或許是兩面性或更多包容的可能性，所以在自然中取材的神話故事，才能如此的迷人。我藉由這樣看世界的角度，重新地看自已身處的狀態，從中發現種種關係之間隱約的聯結，人與人的相處關係、壁虎身體與尾巴的關係、海洋與島嶼的關係等。整體中的個別元素相互作用，親密與疏離、一體與斷裂、限制和助長，關係並非文明邏輯對意義界定時如此地對立，而是一個整體中的隱性聯結。   【Tail is Cut Off】 2012 100×200×2cm Glue color, acrylic paint, linen   The idea of the work comes from Yami’s scaly-toed geckos on Lanyu (Orchid) island. As an endemic species in Lanyu, it evolved on the island surrounded by ocean. The role of the ocean acts as a limitation as well as a catalyst to the development of the gecko’s evolution. I overlapped and recombined its background, mythological legend and of my own experience, conjuring up a powerful, mysterious, and colorful imagery. In nature, limitation and helpful growth are not absolutely antagonistic nor do they have to be bound together as binaries. There may be more possibilities and tolerance that meets the eye. That’s why a mythological story whose materials are required from nature can be so fascinating. By looking at the world from such an angle, I re-examined the situation where I am situated exploring ambiguous relationships between people, geckos’ body and tail, and between ocean and islands. Individual elements in a whole interact with each other, such as intimacy and alienation, unity and fracture, limitation and boost. These relationships do not have to be defined so antagonistically to the modern logic, but rather the hidden links within a whole.

【看似之間】 2012 79×54cm 水性顏料 從植物的美感線條轉化為植物新生的樣貌，就如同嗷嗷待哺的嬰孩般，以全新的角度來看這一個美麗世界，一種無限蔓延的可能出現在你我的身上。每個人都穿著華麗又帶有些許歡樂的色彩，人與人之間存在著一種關係，而我用這樣的象徵手法來呈現這種微妙變化，有些不可言說的氛圍似乎圍繞於畫面之中。   【Between】 2012 79×54cm Water paint What emerges from the charming outlines of the plants is a new way of depiction. Like new born babies seeing the world for the first time; from a brand new perspective, a kind of possibility of infinite extension appears in front of you and me. Everyone is dressing up gracefully with joyful colours, a sort of relationship existing among people. That is why I choose to represent these subtle changes in this particular way; an indescribable atmosphere surrounds the painting.

【花花世界】   2011 150×25×150cm 土、泥漿釉、漆、畫布板   我企圖要塑造一些在真實與網路的社群關係裡所常用的線條、形體和圖像，它是一種潛藏且依附在人與人或人與事物之間，有族群認同的共同情感、記憶、性格的形體符號，每一個圖像符號都帶有人性情感多重真假曖昧的味道，當轉換成物件形體時，多重模擬不定的形象猶如社群交互之間隱匿偽裝的性格。   所以在我表現的群組物件中，有多重模擬不定的「偽物」視覺形象，主要也反應出社群關係曖昧的偽裝性格，讓每一個物件形體猶如社群中的個體有著多重模擬不定的形象和隱匿偽裝的視覺特質。    【Pseudo World】   2011 150×25×150cm Soil, slip glaze, paint, canvas   I attempted to depict lines, forms, and images commonly seen in reality as well as social relationships on the Internet. They are physical symbols hidden between the relationship between people, things, and events. They have ethnically identified common emotions, memories and characters. Each symbol carries complicated, multiple, ambiguous and uncertain images like characters disguised among each social groups. Therefore, in the group of objects that I presented are multiple and uncertain “pseudo-objects” images, which mainly reflects on the ambiguous characters hidden in social relationships. It allows each object to be seen as an individual in a social group that has multiple uncertainties.

【臺灣封神演義：地基主】 2012 125×50×3.5cm 數位攝影   臺灣住民主要包含原住民及渡海來臺之漢民族，在宗教信仰上除保留其固有特色外，另交織出同中有異、異中存同的本質。臺灣封神演義系列以臺灣民間信仰之「地基主」、「石敢當」及「五營」的建築形式探索臺灣的建築、文化、宗教及生活習性。   地基主是一種東亞民間信仰。明清時代閩、客移民渡海來台取得原住民平埔族的土地後，設立地基主以表對平埔族的先人之敬意，並加以祭祀。演變至今，臺灣人在遷居或搬家時也會祭拜舊宅及新宅的地基主，以求與舊宅地基主話別並祈求新居之地基主保佑。       【Investiture of the Gods in Taiwan: God ofResidence】 2012 125×50×3.5cm Digital photograph Residentsof Taiwan are mainly composed of the indigenous people and the Han people ofChina. In religious belief, both have not only preserved their own inherentcharacteristics but have interlaced the essence of the other. The series of“investiture of the Gods in Taiwan” explores Taiwan’s architecture, culture, religion, and lifestyles through architectural forms of Taiwan’s folk religious belief－“God of residence,” “exorcising stone tablet” and “five camps.” God of residence is a folk religious belief inEast Asia. During the Ming and Qing Dynasties, Fujian and Hakka immigrantssailed across the sea to Taiwan and occupied the land of the indigenous Pingpupeople. They established the God of residence in order to express their respectfor Pingpu’s ancestors as well as to worship them. This tradition evolves eventill this day. When Taiwanese individuals migrate or move to new homes. Theyalso worship and say farewell to the Gods of their old residence and asks forthe new one’s blessings.

【無邊之外】 2011 150×100×130cm 毛線、填充物、金屬鋼架   「忘神的浸泡只為勾勒意識的片段，我將世界留在我身後遠方。」 人都是透過自己的鏡頭觀看一切，各自以其特定的心智模式將圍繞周身對「宇宙存有」的感知，體現在自我精神姿態下。   透過轉換身體感官所處的「真實」與內在意識的「存在」，將這思維模式經由作品幻化成形。再透過閱讀創作後呈現的結果迴盪到原初心理層面，發現這所造就的一切，將「我」被置於操作與被操作的關係之中。   意識全然無法介入，創作卻與生命絲黏而無可切割，將生命根源的記憶內化身軀中，依循本體內宇宙創作的程序喚起的母體基因，成為我們無從跟隨的記憶，類自然的遊戲法則如生命般不斷的發生了什麼，為的是不讓世界將被不經意的吞噬。因此新的靈魂將與我共存，將世界搬離。       【Beyond Boundlessness】 2011 150×100×130cm Wool, stuff, metal rigid frame “Indulging in a semi conscious state only toescape and leave behind the world as we know it.” Each individual perceives theworld under their own unique sense; the universe exists within our ownperception under different modes of the mind. By experiencing the world, wefeel what “reality” is as well as a sense of existence. Through reading andcreating art work, one is able to contemplate on the relationship betweenmanipulating and being manipulated. Consciousness cannot be intervenedwholesomely, but creation is closely connected to life. Internalizing thememory of the source of life, I follow my creative process inside the body inattempts to awaken my instincts. It becomes our memories, which can’t befollowed. No matter what the natural rules are of the universe, its purpose isnot to be incidentally absorbed by the world.

【幻化自在】 2011 150×150×76cm 複合媒材 嘗試以「靜」的方式，陳述作品的情感，隱喻則是造形傳達的方式，規整方格如棋盤，制式的排列呼應色彩交錯，矗立羅列的造形，有如西洋棋，花柱個性的表徵，有如一尊尊蓄勢待發的武者，只是在此，造形轉移了，「花」、「非花」的樣子，奇異的交互在彼此陌名的個性之間，它們依舊是靜止的，沒有任何位移的意圖。形貌，在凝視的片刻中，像是絢麗大地上綻放的花朵，又像是在制式框架中行走的人們，有著無法訴盡的色彩與個性：有的像是天真無邪的孩子，有些則帶著些許落寞與孤寂，又有些像是富有哲學思維的宗教幻想家，有些則是走著貓步的貴婦，彼此在色與形的交互繁衍中，靜靜地微微運行。       【Metamorphosis Comfortable】 150×150×76cm Mixed media   I tried to use “quiet” as a way to express the work’s emotion, a metaphor to express these forms. The patches of color represent a standard checkerboard, and the erected forms resemble chess pieces. The qualities of the flowers look like warriors who are in position. They are mainly grouped into “Flowers” and “non-flowers,” strangely interlacing with each other under the unaccountable characters. They are quiet, without any intension of moving. At the moment of gaze, their appearances look like flowers blooming on a magnificent fertile land as well as people walking in the standard framework, who have unspeakable colors and personalities. Some are as innocent as children; some look lonely and depressed; some are like religious visionaries full of philosophical thoughts; and some are like wealthy ladies in a catwalk. They quietly and slightly move and propagate under the interaction between the colors and forms.

【是否還依舊存在】   2011 120×60cm 油彩   此作品藉由三個人物的形象來象徵整個孤獨、虛無的存在。在這裡，打開的門象徵著被迫與外在連結的內心空間，在如此殘酷的舉動下，蹲在水中的女孩代表著無奈、不知相信什麼的自我。而背對著觀眾的胖女子及坐在樹前的兩位人物，則是門內女孩與外在世界關係的外顯，以背對的方式來面對現實中所有的虛無存在。整個作品意涵，在虛無的外在現實主導下，自我還能依舊維持原本的模樣嗎？       Tsai Xing-Juan   2011 120×60cm Oil paint Through the images of three characters, this work symbolizes the existence of loneliness and emptiness. The open door refers to the inner space forcefully connected to the outside world. In such a cruel behavior, the girl squatting in the water represents a helpless self that does not know what to believe. The fat lady with her back to the audience and the two characters sitting in front of a tree reflects on the relationship between the girl inside the door and the outside world. They used their back to face all nihilistic existence in reality. Can the self still maintain its original appearance in the work under the nihilistic external reality?

【南島．條．件〈漂鳥系列〉】 2012 150×100×60cm 鐵、大理石、檜木、陶土 五行是大自然裡的重要元素，如何把生活中的元素當作材料轉化成創作的形體，就需要一種對自然最直觀的擷取。   作者利用金、石、木、土等實質的材料創作這次「南島」的主題意涵。當呈現南島美學在世界位置中偏離，以及展現臺灣當代藝術裡的怠速空間，成為一種原創精神的概念。多樣的形體分解、組構，在不斷地演練中找到各個造形應該有的位置。當然，藝術是客觀條件和主觀意識所組合而成的結果。所以，在每一次的演練下都會呈現出不同的「南島」意象，就是此件作品的條件。   談論作品的元素概念即可，不需要一一解釋作品的造形，單純的元素造形會有更大的想像空間，而這就是藝術本身。藝術沒有真相，藝術總是模糊別人的觀點來找真相。       【South Island．Conditions〈Drifter Series〉】 2012 150×100×60cm Iron, marble, Taiwanese cypress, pottery There are five important elements in nature. In order to turn natural elements into materials for art, one is required to directly capture its essence. The artist made use of metal, stone, wood, and earth to represent the central theme of “Austronesia”. The original concept was to present the deviations of Austronesian aesthetics throughout the world as well as to shed light on the gap between Taiwan’s contemporary arts. Under constant evolution, each has found their spot. But art is a result of a combination of both objective and subjective opinions. Therefore, representations of “Austronesian” imagery would be different; which is the central theme of this piece. Discussions of the concept of the elements are fine, but it needs not to be discussed in detail. As pure elements will enlarge the imaginations, and this is art itself. Art has not one right answer, for it always blurs points of views in order to find out the truth.

【Chuab，帛琉巨人】   2012 60×120cm 混合媒介 Chuab是我們的土地。依據帛琉傳說，有一個巨嬰從大海蛤誕生，快速成長。人們擔心他會吃盡食物，因而在巨嬰底下點火並推入海中，從此變成帛琉島。   整體來看，帛琉外型像個巨嬰，各州代表身體的不同部位。今日，這個巨型Chuab已發展成更大的形體，矗立海上、直達空中。藉由電腦主機板和微晶片，我們踏出一大步；這項科技已象徵性地將我們的世界縮小至位元及像素。帛琉已是全球網路成員之一，平日運用普遍的通訊衛星及電腦，加深我們對現代科技的高度依賴，如同宗教一般。   椰子樹的彈性好，是個漂浮裝置，可緊抓暗礁形成新島嶼，並將自身變成主體，吸收更多的碎片與殘骸，最後形成沙灘圍繞的島嶼。此外，椰子樹功能多，可做成日常用品、籃子、繩索、木料、椰子油及椰奶等。   帛琉屬於貨物文化的島嶼，許多事物不斷引進並累積，並形成今日的樣貌。這裡的環境像個子宮；據醫學研究指出，子宮裡7到9個月大的嬰兒，已能透過自己的感官蒐集各種資訊。       【Chuab, the Giant of Palau】   2012 60×120cm Mixed media   Chuab is our mother land. The Legend tells that a baby born from a giant sea clam and grew up so fast. People worried that he might deplete all food, so they set fire under him, toppling him down across the sea and therefore became the Island of Palau.   Palau as a whole is this body of the once a giant baby. And every states of Palau represent its various body parts. Today, this Giant Chuab, has evolved to a much larger form, standing on the sea and reaching up to the sky. From the mother board and micro-chips in a computer, we take a Giant step; this technology has symbolically shrunk our world into bytes and pixels. Palau has become a member of the global network; the use of satellite communications and computers has cemented our minds and dependency on the modern technology today; it’s almost religious.   Coconut is a very resilient tree and a floating device. It could start a new island by holding on to a reef and itself becomes the host, to accumulate more incoming debris and eventually evolve into an island with beach around it. This tree serves many purposes: household utensils, baskets, ropes, lumbers, oil and coconut milk.   Palau is an island of cargo culture. Over the years, we accumulate incoming things and Palau is a result of that. Palau’s environment is like a womb. Medical research says that 7 to 9 months old baby in the womb is already inputting information gathered through their senses.