【非志願性讀者】 2012 176×200cm 攝影及文字輸出   在「非志願性讀者」中，藝術家利用報紙來反應生活中資訊的過量及探討其流動的脈絡，以及媒體如何影響我們所認知的社會真實。在一百天內，她不購買任何報紙及雜誌，不主動瀏覽電視及網路新聞，只閱讀送到手邊的免費報紙，包括在捷運站發放的、座位上撿到的、早餐店桌上的等等。她收集這些報紙，拍攝並記錄下與該報相遇的時間地點以及當天的頭條，試圖記錄下資訊的流通網絡，以及這段時間內媒體所建構出來的「真實」。而在這一百天內，她對社會的認知則全然的被該媒體所掌控。   【Involuntary Reader】 2012 176×200cm Photograph and text              In this work, the artist uses newspapers to reflect on the excessive information in our daily life, exploring the flowing context and how the media affects the truth, as we know it as a society. In a hundred days, she did not buy any newspapers or magazines, nor did she watch news from both the Internet and the television. She only reads free newspapers given out at the Metro stations or found on the seat or table at the breakfast shop. She collected these newspapers, photographed, and recorded the time, place and the headline of the day. She tried to compile the flowing network of information and the “truth” constructed by the media during her experiment. Within the hundred days, her perception of society was completely controlled by the media.

【鹿的理念】 2012 162×130cm 油彩、畫布 在影子的場域裡－內部與外部，光明與黑暗，物質與非物質，形式（實物）與觀看之間－是以假弄真的心物擺盪，心靈不再是全然主觀下想像力的神思馳騁，也不是某個主體表現下的被動接受。對於一切抽象普遍性（受制約的簡化認知模式）的解脫，我們不得不沿著感性聯繫的方向靜觀靈視。關於「理念的『影子的影子』」，原來真的只是影子－影子的覺受轉化成了理念的一個事件。   【Notion of Deer】 2012 162×130cm Oil paint, canvas In the domain of the shadow – Internal and external, light and dark, material and non-material, reality and observational. Perceptions of being genuine or fictitious are both just projections of the mind. It no longer plays an active role in the subjective imagination, nor does it accept the performance of a certain subject passively. Getting rid of abstract universality (restricted simplified cognitive mode), we cannot help but wait and see in the direction of emotional ties. About the concept of “shadow of the shadow,” it is just a shadow. The feeling of the shadow is transformed into a concept.

【福爾摩沙】 2012 142×200cm 壓克力顏料、亞麻布 有一天當我躺在床上看電視時，腦中突然出現一個巨大的人物影像，他的腹部和頭部各有一個湖泊，上面漂浮著船。後來我把腦中的影像畫成一幅小畫；雖然畫已完成，但我決定把同樣的影像畫成更大幅的畫，擁有更豐富的色彩及細節。當我開始作畫，只有這麼一個基本的想法，剩下的部分在開始動筆後就很自然地發展。這幅畫展現了相異的、虛構的生命形式，例如類似生物和植物的人類與動物。我不喜歡呈現目前存在的現實，而傾向呈現一個可能的、不同的現實。由於日本福島事件，現在的我對輻射議題很感興趣，因此這幅畫表現了從輻射線裡出生的生物。   【Formosa】 2012 142×200cm Acrylic paint on linen When I was in bed, watching TV, suddenly I had an image in my mind, of a big figure which has a lake in his belly and in his head, where boats float on the lake. I drew a small picture from it. Even though I had this small picture, I decided to make a big painting with the same image, but much larger and much more colorful and detailed. There is only this basic idea and the rest naturally developed after I started to paint. The painting shows a scene of different fictive life forms, such as human and animal like creatures and plants. I do not like to show the existing reality, only a possible different reality. At the moment I am interested in radiation, because of Fukushima. The painting shows creatures born from radioactive rays.

【2012達悟之歌】 2012 116×91cm 油彩 記憶中的大船下水是達悟族人精神的寄託，而慢慢消逝的傳統，是老族人心中永遠的痛，畫中遠方的微光是族人內心裡的盼望。   【The Song of Tao 2012】 2012 116×91cm Oil paint The Grand boat launching ceremony is a spiritual commitment to the Tao tribe. It pains the older generation to see this tradition diminish over the years. The distant glare in the painting represents the hopefulness of the Tao people.

【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.  

【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.

【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.