SELF-PORTRAIT
Self-portrait
38 x 76 x 3.5 cm, Gouache, Acrylic, color pencil, linen, wood, on wood board, 2018
A screen is an ideal world which cannot be expanded completely, it separates and explores our sense of space, and bring the quality of seeing and be seen. People are being as a peeper and the person who is peeked repeatedly to fulfill their hankers and covets of peeping, fetishization, obsession, coercion, and need.
自畫像
38 x 76 x 3.5 cm, 膠彩, 木板, 棉布 , 2018
微幅變形的水平景色。屏風是一個無法完全伸展開來的理想世界，帶來了看與被看的特質。
看與被看者，我們交互扮演著這兩種角色來滿足心中窺視、 戀物、 佔有、控制、表現、被需要等等的慾望。
所有權
62 x 49 x 5 cm 膠彩, 木板, 棉布, 2018
這一系列的作品是關於佔有。 人們傾向於獲得美好或是一些能讓他們喚起同感的事物。 無論是視覺，精神還是感受上的，我們都喜歡接近它並擁有它。 經典的行為是購買藝術品，人們收集並展示藝術並將其精神視為自己的一部分。 這種「擁有某種東西」等同「讓某種東西成為自己一部分」的心理狀態，是我想要在本系列中呈現的內容。
形像地說，這件藝術品描繪了我居住一年的城市上的一片天空。 它看起來像一塊從天落下並被掛在牆上的藍天，代表了我在那個城市當時的情感與回憶。 我用這種“掛起來展示的行為”呈現如同收藏藝術品一樣的心理狀態。 截至今日，我從這段對於這段記憶的情感中認知到，比起懷念更多的是佔有慾。 因為一旦我們曾經擁有，特別是某些對於我們具有特殊記憶的事物，它就成為了我們自己的一部分，使得失去如同割開自己一般變得無法容忍。
The possession
Eastern Gouache on wood and linen 62 x 49 x 5 cm 2018
This series of artwork is about possession. People tend to acquire wonderful things or something that makes them feel sympathetic. Whether it is visual, mental or sensational, we all like to approach it and to have it. The classic behavior is buying art. People collect and display it and regard its spiritual as their own or a part of themselves. This belief that having something equates to being something and this state of mind is what I want to present in this series.
Figuratively, this artwork depicts a piece of the sky from the city where I lived for a year. It looks like a fallen piece of the sky that has been cut down and hung on a wall. It represents my emotions and the memories I have had at that time in that city. I use this hanging and displaying behavior to connote the same mental state of collecting art. So far, I recognize that my feeling about this memory rather than nostalgia is more about possession. Because once we own something, especially if we have a special emotion or sympathy on it, it will be a part of ourselves and make the loss to be intolerable.
如何說你好和再見指南
60 x 60 x 3.5 cm, 膠彩 , 壓克力 , 鉛筆 , 緞帶 , 麻布 , 針 , 木板 , 2018
首先，你應該準備一些針，線，剪刀和鉛筆（顏色6B將是合適的）。僅供參考，如果你想提升你的個性，一定要帶上一些緞帶或亮片！第二步，你必須找到一個人，無論是活著還是死了，這都取決於你！第三步現在是打個招呼的時刻，你可能會開始感到不舒服或出汗，但這只是正常的反應。所以，不要驚慌，一切都會好起來的！第四步，是時候使用你的針，讓我們在他或她的身體上做一些刺繡。請記住，您的行為應該是自然和禮貌，這是我們給人們留下深刻印象並進行自我介紹的方式。第五步，我相信你們現在是朋友，恭喜！只是享受你的友誼，真誠地縫合，這是維持你的關係的方式。第六步，你開始知道當你的激情過去時，沒有什麼可以永遠存在，你知道它是時候結束了。用剪刀勾住並劃傷你製作的刺繡。雖然，他或她的皮膚可能會被撕碎，不要擔心！看，他或她對你做同樣的事情，多麼公平和美好！最後，他或她和你充滿了傷疤，你會親吻對方的臉頰，輕輕地說再見。
A guidebook of how to say hi and goodbye
60 x 60 x 3.5 cm, Gouache, acrylic, pencil, ribbon, linen, plank, 2018
First, you should prepare some needles, thread, scissors, and pencil (color 6B would be the appropriate one). FYI, if you want to enhance your personality a bit, definitely bring some ribbon or sequin! Step two, you have to find a person, either alive or dead, it is really up to you! Step three now is the moment to say hi, you may start to feel uncomfortable or sweaty but it is just normal reactions. So, don’t panic, everything will be just fine! Step four, it is time for you to use your needle, let’s do some embroideries on his or her body. Remember your actions should be natural and courteous, it is how we impress people and do our self-introduction. Step five, I am sure you guys are a friend now, congratulations! Just enjoy your friendship and keep stitching sincerely, it is the way to sustain your relationship. Step six, you start to know there is nothing can be forever when yours passion pass you know it is time to end. Using your scissors to hook up and scratch the embroideries you made. Although, the skin of his or her may be shredded, don’t worried! See, he or she is doing the same thing to you, how fair and wonderful! Finally, he or she and you are full of scars, you will kiss each other's cheek and saying goodbye gently.
應許之地
38 x 76 x 3.5 cm, 膠彩 , 壓克力 , 鉛筆 , 麻布 , 木板 , 2018
應許之地是上帝應許並給予亞伯拉罕及其後代的土地。 在現代語境中，普遍的理解為猶太人恢復家園，以及救贖和解放思想相關的形象概念。此一用詞也在流行文化中被引用，將其原始意義轉變為“消歧”，並且在精神上實現類似於烏托邦的概念。 因此，我引用這個內涵來表達我對藝術的信仰 -----藝術將永遠是任何歧異的安全之所。這件作品由非常明確的元素構成，那眼睛; 就像是在百頁窗簾後凝視著觀者的偷窺者，黑色的如畫廊般的房間，牆壁和外圍。它們以平坦和簡單的方式排列，吸引人們關注在它所創造的層次和視角裡。 然而， 由於我們如此深信，遠處的景色和深色應為背景。當我們在更近的距離觀察它時，會意識到我們的感受被眼睛和自己的認知所迷惑。 通過這種誤導性的觀點，我突出了物理上實際序列和精神上錯誤判斷之間的衝突。 總的來說，藝術作品中的平靜和確定性的質量在某種程度上產生了非人化的感受，並且挑戰我們所看到的並不總是與現實相同，這種感覺幾似於難以理解的事實感。
Promised land
38 x 76 x 3.5 cm, Gouache, Acrylic color, pencil, linen, wood board, 2018
The promised land is the land which was promised and given by God to Abraham and subsequently to his descendants. In the modern context, this image and idea is related to both restored homeland for the Jewish people and the idea of salvation and liberation are more general understanding. This reference is also invoked in popular culture which transforms the original meaning to “disambiguation” and spiritually achieves akin to the idea of Utopia. Thereby, I use this connotation to represent my belief in Art which is art will eternally be a safe ground for any difference.
This artwork composes by very specific elements, the eye; which seems like a peeper who is gazing behind a blind, the gallery-like black room, the wall, and the water-like peripheral. They are arranged in a very flat and simple way to draw people’s first attention on the layers and perspective it creates. However, since we believe so deeply that a far away view and dark color should be always in the background. Therefore, when we observe it in a closer distance, we would be aware of our feelings are cajoled by eyes and common understanding of ourselves. By this misleading perspective, I stand out the confliction that between the physically actual sequence and mentally incorrect judgment. Overall, the quality of calm and certainty in the artwork produces somehow a feeling of dehumanization and to challenge what we see is not always as same as reality, this feeling is nearly an impenetrable factfulness.
房間
86.3 x 43 x 3.5 cm 膠彩 , 壓克力 , 鉛筆 , 麻布 , 木板, 木塊, 2018
這是一部關於記憶和自治慾望的作品。 我認為一個人的存在是基於我們所記得的。 如果是這樣，那將意味著我們總是生活在一個成形和變形的狀態。
房間就像一幅具有物理尺寸的畫作。 房間內的所有東西都會凝聚成主人的性格，就像教堂裡的壁畫描繪著教堂的過去。 在這件藝術品中，我回憶我曾經生活過的宿舍，然後把自己推回到曾經環境的感覺。 然而，除了記起的東西之外，同時我也感到哀悼。因為我的記憶逐漸消失或被時間覆蓋， 而我一點也不知道我失去了哪一部分，就像有一個至高無上的存在幫我做著選擇來決定我應該被刪除哪個部分。
The Room
86.3 x 43 x 3.5 cm, Gouache, Acrylic color, pencil, linen, wood board, 2018
It is an artwork about memory and the desires of autonomy. I think about the existence of a person is base on what we remember. If so, it will mean we are always living in a state of forming and deforming.
A room is like a painting with a physical dimension. Everything inside of a room will be condensed to the character of the owner, just like murals in a church depict its past. In this artwork, I think about the dorm I used to lived and push myself back to the feeling of circumstance then. However, besides the figure of stuff I recall, I also feel mourn and intriguing because I notice my memory fading or overwriting by time and mood. I don't know which part I am losing, it just like there is a supreme being making a selection to decide which part of myself should be removed.
絞肉機
41 x 41 x 9 cm 膠彩 , 壓克力 , 鉛筆 , 麻布 , 木板 , 2018
這件作品表達了我對失去本能衝動與情感不可逆的沉痛———失去即失去。 它可以被影射於任何“主題”，包括文化，性，養育，等等。 這種感受會如此強烈，源於它是我們對理解和感受的鬥爭。 無論是服從我們感覺不對的事還是為我們的立場而奮鬥，都將使我們失去無辜和永遠離開我們一向的依賴。 與此，我使用絞肉器來象徵“主題”和這種危險地"轉變情況"，將不斷削弱我們的直覺。 最終，我們變成了一塊肉，沒有臉，沒有外表，麻木不仁。
Meat grinder
41 x 41 x 9 cm, Gouache, Acrylic color, pencil, linen, wood board, 2018
This artwork expresses my grief of loss of id. It could be alluded to any “subject matter”, of culture, sex, parenting, on and on. This grief would be so strong because it comes from our struggle of understanding and feeling. Obey something that we don't feel right or to fight for our principle, we will both lose the innocence and depart our dependence forever. Connect with that, I use a meat grinder to symbolize “subject matter” and this perilously "transforms condition", which would constantly impair our instincts. Eventually, we become a piece of meat, with no face and no appearance, apathetic.