【哭泣的燈塔】 2012 40×57×2cm 膠合板、沙、硬紙板   這件作品直接延續了之前有關建築與自然景觀的作品，由不同類型、取自以色列不同地方的膠合板及土壤所創作而成。透過綠島燈塔和懸崖的圖像，我在我工作之處－以色列－描繪臺灣在地風景，其中最吸引我之處是對比的部分：海岸和懸崖的自然風景對比人造的燈塔；細緻的剪裁對比膠合板自然的破裂；以及由沙子組成的海洋，將畫面變成沙漠。   我創作的燈塔屬於超現實，看起來彷彿在哭泣，淚水流進海洋。它的存在僅是昔日歲月的建築遺跡，陪伴著我的一個景象而已，不再提供任何功能。       【The Weeping Lighthouse】   2012 40×57×2cm Veneer, sand and cardboard   This work is a direct continuation ofprevious works in which I deal with architectural and natural landscapes. Thework was created from different types of veneer and soils that were gathered indifferent locations in Israel. I engage with Taiwan's local landscape fromIsrael, in which I work, through the images of the lighthouse and cliff inGreen Island. The contrasts that interest me in the piece are: the naturallandscape of the sea and cliff against the manmade lighthouse; meticulouscutting against natural breaking of the veneer; and the sea made of dry sand,which turns the image into a desert.   Thelighthouse I created is surreal and looks as though it is weeping, its tearsflowing to the sea, a notion that accompanies me in light of its existence asan architectural remnant of bygone days, which no longer serves any function.

【小海島的曦曦暮暮】 2012 單組50×50cm，共12件組 影像輸出、貼紙、壓克力、炭筆、鉛筆、畫布   咻咻咻…   坐在火車或是客運或是自己騎著摩托車，周圍的景色與場所都是咻咻咻…不停變換就像生命景況一樣也是咻咻咻，我從哪來，要到哪去，大家都在找一個適切的歸屬，卻總是如此汲汲營營。我也經常欲言又止幻想自己能做輕盈狀像風一樣隨行，藉由長途的短程的旅行似乎就能離不是自己的身體遠一些，圍繞著小海島跑來又跑去，試試看把自己切割開留下部分給那些好像有點熟稔的曦曦暮暮。   即便如此，終究還是咻咻咻…       【The Moment of Little Island】 2012 50×50cm for each piece, totally twelve pieces Photograph, sticker, acrylic paint, charcoal, pencil, canvas When I travel by train, bus or motorcycle, the surrounding scenery keeps changing much like how life is. Contemplating where I come from or where I can go in the future, we are all after all looking for an appropriate place to stay. I often fantasize about traveling like the breeze freely, lightly and gently. It seems as if I can leave my body freely, like the rays of light from the sunshine disbursing into space evenly, widely and generously.

【飛行物2011-1】 2011 91.5×200cm 油彩、油性蠟筆、麻布 如果要為「飛行系列」作一個美學上的概念分析，可以說那是一個關於「自由」的概念。康德曾經為藝術作了一個著名的美學性說法。他說：「美學的追求是一種無目的的合目的性。」這個說法特別適用於作者的「飛行系列」作品上。所謂的「無目的」在作者的創作脈絡上最為純粹。「飛行系列」當中的繪畫型態並沒有要去構築出什麼特殊的美學性，反而卻是一種繪畫當中更基礎的性質－「自由」。對於這個美學上的「自由」概念，其實也正是作者對於藝術創作這個活動的「合目的性」。「飛行物可以是任何東西，它的形象允許不確定性，可以是漂浮…甚至是一種神遊。」（游依珊創作日誌2009）。在「飛行系列」裡，作者所處理的並不是乘坐某種飛行機具的飛行狀態，而較像是囈想冥思之類的表達。   【Aircraft 2011-1】 2011 91.5×200cm Oil paint, crayon, linen If we want to analyze “The flying series,” from the vantage point of aesthetics, we could say that it is about freedom. Kant has a well known saying in that “the pursuit of aesthetics is aimless and purposive.” It is particularly true in Yu’s “Flying series.” The so-called “aimlessness” is exactly what the artist is searching for; to the artist the aimlessness is a kind of freedom free of the academic sense of beauty. Instead, the inherent act of painting is purposive on its own. Yu once wrote that an aircraft can be anything, but its image is allowed to be uncertain. It can be floating or even a kind of spiritual fugue. In the “flying series,” the artist does not depict the vessel nor the flight but rather the meditative state where one’s mind goes for a walk.

【石頭山水】 2011 180×100cm 複合媒材 當城市的發展快速下，我們似乎忘掉了自然中的大小美景，鏡像裡不同的視角將石頭創造如山脈的視野，使平常易忽略的石頭小景，產生出不一樣的視線觀看，也讓自然純淨表現出來。此外，在畫面上創造新的刺點，此刺點是對於鏡像裡石頭空間的想像，經由繪畫形成衝突與融合，將有如山水畫裡的透視，讓石頭的影像呈現出豐富的故事，回到自然中玩耍。   一種童夢，一種遊戲，讓視線產生一種循環。一種靜靜的感受，由下往上靜悄悄的熱鬧場面，畫面之間產生如有此景般的超現實，是一種小時候的佔領，常常為了要佔據一種屬於自己的空間，就在那空間中做記號，也為了表示自己的存在感，因而在影像中畫出自我的夢想場景，從吵雜的城市中回歸到自然裡的單純與純淨。       【Landscapes of Stone】 2011 180×100cm Mixed media As cities develop rapidly, we seem to forget the beauty of natural scenery. From distinct perspectives, stones can mirror mountainous scenes. Thus, the stone scenes which are easily ignored could be seen in with new life and natural purity can shine through. In addition, this work creates a new reference point which relates to the imaginary space between the stone and the drawings. Creating an atmosphere of childhood, play, and serenity, an imaginary space for one to escape the bombardment of both visual and verbal signals present in most urban cities. For my own escape, I paint my own peaceful scene to enter, to meditate, and to contemplate.

【魚浪】 2012 53×45cm 油彩 達悟青年背對著妻子的埋怨、母親的勸阻，固執地出海。 冷風刺骨、浪高如樓的季節，達悟青年找到自己的尊嚴。 那天的飛魚穿過浪的頂端飛舞。無．窮．無．盡       【Wave of Alibangang】 2012 53×45cm Oil paint Despite of his wife’s complaint and his mother’s dissuasion, a Tao young man stubbornly insists on sailing to the sea. During the season of high tides and winds, it is exactly this reason that entices him to set sail to find pride in his bravery. Flying fish hovered over the top of the waves that day, endlessly.