【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.

【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.

【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.

【融合】 2012 150×150×175cm 陶、鐵 在太平洋成千上萬個島嶼中，居住說著一千二百多種不同語言的近三億人口，經由語言追溯有著共同的祖先。有許多語言學家都認為，臺灣就是所謂的南島語族原鄉。而作者就以地球融合的概念，將臺灣及各島嶼之南島語系族人的特色樣貌一一呈現在地球上。       【Fusion】 2012 150×150×175cm Pottery, iron Nearly three hundred million residents stay on thousands of islands in the Pacific Ocean, speaking over twelve hundred different languages. People are traced back to their Ancestors through languages. Many linguists believe that Taiwan is the so-called homeland of the Austronesian family. Based on the concept of global fusion, the artist presents the globe with the distinct features of Austronesian peoples in Taiwan and on other islands.

【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.

【AB • ORIGINAL】 2012 150×150×200cm 複合媒材 今年初因緣際會到了臺東，隨處看看，逛了位於卑南鄉的城鄉回收場與中興路的牧心回收站，也撿拾了一堆東西，包括紙類，塑膠等等。我想運用這些東西來創作，在上面畫上關於（Austronesian）的圖像或些許的改變，企圖讓物件與圖像的意義連結，希望可以跨越時空、時間的隔閡，讓自己優遊在藝術與歷史的氛圍裡，也期許大家可以感受到南島的生命力。       【AB • ORIGINAL】 2012 150×150×200cm Mixed media Earlierthis year, I had a chance to go to Taitung. I looked around and visited tworecycling stations, which were located on Chung Hsing Road in the downtown andin Peinan township. I picked up some stuff, such as paper, plastics, and etc. Iwanted to use these materials for art making and draw some Austronesia-relatedimagery. It is expected to connect objects and images meaningfully. Across thegap of time and space, I wish to let myself linger in an artistic andhistorical atmosphere, also expecting everyone to feel Austronesian vitality.

【山景】 2012 50.8×38.1cm 蛋彩、畫板 對我而言，大自然是一個連續不斷的靈感來源。我比較喜歡把自然景觀做為作品的珍貴主題，高山、樹木、天空下的山谷、小溪等，都是我喜愛描繪的自然元素。我玩著它們的形狀和顏色，畫出相異於它們原本的形狀和配色，並加上自己的想像。蛋彩畫是我首選媒介。我在平面色彩上添加色調變化，用陰影與明亮增強風景如詩如畫的美麗。因此，當描繪自然的各種情緒時，我感到自己是健康、振奮的，覺得自己與自然融為一體，不再擁有自我，如同變成一個媒介，將自然的甜美自動釋放出來。 整幅作品描繪河流穿過的山谷，某幾處看得到房屋。天空、土地和河流讚頌彼此的豐富色彩，其間的深色線條，突顯地表的顏色；四處可見的藍色增添了視覺愉悅與色彩和諧。對我而言，全畫反映出寧靜的氣氛，直接影響觀眾心靈。   【Hillscape】 2012 50.8×38.1cm Tempera on board To me, Nature is a source of constant inspiration. I prefer natural landscapes as a cherished subject of my works. Mountains, trees, valleys under the open sky, streams - these are some of the various natural elements that I love to depict. I play with their forms and colors. I often deviate from their natural forms and color schemes and try to utilize my own imagination. Tempera is my preferred medium. I try to apply flat colors with tonal variations. The lyrical beauty of a landscape is further enhanced with dark shadows and highlights. Thus portraying nature in her various moods, I feel myself healed and elevated. I feel myself merged and my ‘I’ seems to be lost thereby. As if I become a medium and let free that spontaneous flow of nature’s sweetness. The entry work depicts a valley with a river flowing across. Houses are seen at some places. The sky, the land and the river - all of them compliment each other in terms of color variety. The dark lines in between make prominent the colors of the land surfaces. The touch of blue here and there adds to visual pleasure and color harmony. To me, the picture overall reflects a serene atmosphere which impacts the viewer’s mind directly.

【島嶼地質學】   2012 130×75×4cm 壓克力顏料、複合媒材 將所有訊息減到最低，呈現低限美感，將民族文化色彩，經由不同顏色去時間堆疊，帶入作品畫面。並象徵性地去揣摩地層經時間累積出的地質美學，最後將長時間累積的原圖料層剖開，剖面色塊條條分明，有如將原始大地切分出族群的地平線般，有所牽連卻各個民族皆有特色。       【Island Geology】   2012 130×75×4cm Acrylic paint, mixed media All messages are reduced to a minimal aesthetically in this work; ethnic and cultural features are built up through time and different colours. I tried to symbolically represent geological aesthetics in a system accumulated by time, eventually slicing through the whole like a geological sample. Each layer represents an ethnic group and symbolizes how each ethnic group is built upon its predecessor.  

【呼喚Mana】 2012 130×97cm 壓克力顏料、礦物彩、畫布   作品啓發來自東海岸被海浪侵蝕而成的天然洞穴。這種奇妙的天然景象意味著孕育生命的力量，而“Mana”是南島民族稱呼祖靈的共通語言。在滿月的東海岸上，Mana化身為奇特的礁岩，呼喚著岩石上刻蝕的紋樣和潮間帶的珊瑚。Mana是南島精神中，人和自然界的溝通橋梁，祂告訴我們，當享用這片豐饒之地的同時，也必當尊敬這土地。   在臺東生活及創作的這些日子裡，觀察植物的生長或岩石形態時，我發現到這種純粹的能量，而南島精神也在此刻深深植入我心靈裡。       【Calling Mana】   2012 130×97cm Acrylic paint, mineral color, canvas   The inspiration of this work comes from the natural caves eroded by waves along the east coast. This kind of wonderful natural scene represents the power that gives birth to life. “Mana” is a common term for the Austronesian people to call ancestral spirits. On the east coast with a full moon, Mana is transformed into a reef rock, calling for the eroded patterns on the rock and coral reef of tidal flat. In Austronesian spirit, Mana is a communication bridge between human and nature. It tells us that when we enjoy this piece of fertile land, we must respect the land. During the period of living and creating works in Taitung, I found this pure energy by observing the growth of plats and the form of rocks, and the Austronesia spirit is deeply implanted in my mind at the same time.  

【臥底臺東：背風之處】 2011 23分 行動藝術/影音 通過行動與表達藝術存在之形式，所還原自然生命的本質 。表現形式： 1.以初生兒之心情穿著單衣，現身臺東二十日，體驗真實的現實人生。 2.一場場與陌生人的接觸影像，呈現人與人之間的關係建立。 3.行走池上、關山、瑞和、瑞源、紅葉、鹿野、初鹿、賓朗、富源、卑南、臺東、太麻里、知本、土阪、臺阪共15區 。   【Where Behind the Wind】 2011 23 minutes Through the actions and the forms of performing art existence, this work restores the essence of natural life, performed forms as follows: 1.Put on the unlined garment with a mood of a new-born baby, appear in Taitung for twenty days and experience the reality of life. 2.A series of images show contacts with strangers to present the relationship building up between people and people. 3.Walk around fifteen areas, including Chihshang, Guanshan, Ruihe, Ruiyuan, Hongye, Luye, Chulu, Binlang, Fuyuan, Beinan, Taitung, Taimali, Chihben, Tuban and Taiban.