【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.

【一個人 一個世界】   2014 600×300cm 壓克力顏料、畫布   一個人拖著一個世界…   走過山林   走過海洋   感受陽光溫度   閱讀人群文化的記憶   走著走著   發生在身上的世界   不斷的變化   一個由他經歷的.感受的.記憶的.想像的…所組成的世界。       【 One Person One World 】   2014 600×300cm Acrylic paint, canvas   One Person dragging one world…   Walking past the mountain forest   Walking past the ocean   Feeling the warmth of the sunlight   Reading memories from the culture of the crowd   Keep walking   The world that’s happening around us   Continues to change   Into a world combined by what he experienced, felt, recalled and imagined.

【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。

【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 VESSEL 】   2014 290×90×75cm  漂流木、紙、鋼絲、刺葉樹樹脂、墨水、金屬、鹽、五金製品   《The VESSEL》既是件雕刻作品，也是件樂器，你可以把它當成成一件等待發聲的沉默藝術品，或是做為音樂表演的器具。    齊特琴在南島及東亞隨處可見。《The VESSEL》的結構類似多種形式的傳統齊特琴，這是一個能激發想像、沉思及震動的器具、一種以水火留下的水圖騰。南島先民展開史詩旅程，遊遍廣袤太平洋，而這個作品的靈感便是就來自這段歷史。《The VESSEL》帶來視覺及聽覺饗宴，讓將現代觀眾暫時回到過去，召喚出看似真栩栩如生的現代，但其實那是個脫俗超凡的無形世界。   在我擔任駐村藝術家期間，我從阿美族、排灣族、泰雅族及卑南族等原住民文化所獲甚多，我也受到臺灣當地居民親切慷慨的款待，這些是我本次的最大收穫。諸如范志明、胡德夫、達卡鬧及瓦歷斯諾幹等藝術家非常大方地跟我分享他們的文化。我們曾經好幾個晚上一起高歌演奏，分享彼此的想法及哲理。雖然時間很短，我卻從他們身上學到許多。我想要特別感謝陳冠中、Lafin以及Talaluki對我的親切幫助。   希望在我離開許久之後，地方藝術家能造訪這座美術館，並以《The VESSEL》進行演奏。     【 The VESSEL 】   2014 290×90×75cm Driftwood, paper, wire, Xanthorreoa resin, ink, meatl, salt, hardware   The VESSEL is both a sculpture and a musical instrument that can be experienced as a silent artefact waiting to sound or as a vehicle for musical performance.   Similar in structure to the many forms of traditional zithers found throughout Austronesian and East Asia it is a vehicle for the imagination, contemplation and vibration. An aquatic totem marked by water and fire and inspired by the Austronesian history of epic voyages throughout the vast Pacific Ocean. Visually and aurally the VESSEL brings a little of the past into the present, evoking a world that seems real, present and contemporary yet somehow otherworldly and intangible.   The most rewarding aspect of my artist-in-residency has been learning about Amis, Paiwan, Atayal and Puyemu Aboriginal culture and receiving the kindness and generosity of the local Taiwanese. Artists such as Talaluki, Kimbo Hu Te Fu, Dakanow and Walis Nokan have been extremely generous in sharing their culture with me. We have spent many an evening together singing, playing music and sharing ideas and philosophies. In a short space of time I have learnt much from them. I would also especially like to thank Chen Kuanchung, Lafin and Talaluki for their kind assistance.   I hope that local artists will visit the museum and play music on the VESSEL long after my departure.

【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.

【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.

【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.