Protagonist’s system prompts
在看出生命經歷之間鏈結的時刻，曾經與現在都成了劇情推進者 (主角) 的指引。這是一種賦予自身意義的行為。我試圖表達這個充滿力量的時刻，和我們創造自己故事的本能。我由探討「崇拜」、「經歷」、「直覺」、以及「童年」，作為我對「什麼讓我看見生命指引」的答案，來探討這些 "提示" 對一個人在各方面而言意味著什麼。
The moment we somehow see the link in the past, the matter of now and then are all becoming a Protagonist's system prompts. It is a feeling of being comprehensive and giving means to ourselves. I am trying to represent the feeling of this empowering moment and the instinct that we are questing and making our own story. I explore worship, experience, intuition, and childhood to be my answer of what makes us see prompts in life, and to stem the topic of what these "prompts" mean to a person.
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劇情推進者的指引
560 x 90 x 20 cm, 全畫面 796 x 90 x 15 cm, 木作, 膠彩, 棉布, 2022
我想透過這件作品討論「存在感」。指的是一個人感受到自己在某一時刻的存在，或感知自己存在的程度。我認為去思考存在感，就是去理解我們怎麼定義自己走過的時間、自己是誰、以及對需求與所愛的探索。我將所見與所感的畫面並置，描繪出在生活中，對自己是否明確存在的覺察與渴望。
作品的創作核心是再現「經歷」。觀眾參與作品時，會身體力行到『探索』、『累積』、與『改變』，這一連串覺察自我的行為。作品模擬一段經歷中可能發生的活動、思考、和困難。我將故事解構在作品中，並且不去賦予敘事上的順序。遠距離觀看作品時，由於結構的遮蔽，作品只呈現代表『現在』的視角。然而，當靠近作品時，象徵過去的畫面與現在的場景交融。隱喻我們所見的世界，皆來自客觀現實與主觀感受渲染下的複合視角。
總體來說，我將「經歷」與「存在感」連結在一起。觀眾會發現，即便來回走動也無法一眼望穿作品全貌。如同探索人生，我們僅能邊行走，邊摸索，用過往的記憶去認知眼前的光景。而存在感就體現在因環境而改變的我們，和因我們改變的周圍中，這是一個『因為你存在，所以我感到我存在』的感受。我們在經歷的過程中，檢視衍生的情感狀態、自我認同、和互動社交方式，並累積成自己是誰的存在感。
另一方面，藉由作品的視覺侷限，我探討當今社會對於個體獨特性的要求，以及衍伸的存在焦慮與心理侷限。作品點出了局限性以不同的角度發生在人們身上，然而我們卻也受惠於此。有了自己的專屬視角。
「經歷」可以就是「存在感」的根據。作品中的「經歷」體驗，並不是在呈現任何既定內容或答案，而僅僅是喚起我們去重溫深感自身存在的時刻。這是一件沒有固定視角的作品，就像主觀感受的存在感，隨著思想波動而有著不同意涵。<劇情推進者的指引> 在觀眾與自己的對話中變得完整。我用這件作品討論存在、討論經歷波折挑戰的生命。
PROTAGONIST
560 x 90 x 20 cm, Full view 796 x 30 x 20 cm. Eastern Gouache, Color pencil, Cotton on wood structures. 2022
Protagonist’s system prompt is about experience. People projecting their meaning of life to an imagined character, and I portray deriving existential guilt within this self-recognized action. The structure of this artwork creates no actual standpoint of the whole picture. The purpose of the sight obstacle is to embody a scenario of our feelings and the limit whenever we attempt to understand the random unknown world. When beholders try to see, they have to walk and turn around to collect the figments and storyline from the artwork. This activity makes the beholder not only a witness but a protagonist, and so, I focus on the importance of an experience which will tangle with the time of seeking an answer in order to be a part of a person’s self.
Overall, the artwork is made in the shape of a room-size arc-shaped structure. On the front side is a room with the view of a pure palette but has a few hiding hints. A wood grain mark, a mirror, and some bric-a-brac. Those items make the front view look like somebody's room and a giant table full of personal stuff. The widgets and color tone indicate a person’s status, a normal day, in a private room, and with a little subjective feeling of reality.
When followed by the move of the beholder, this interactive exercise of detour and repetition makes images extending, splitting, and dislocating. Makes our senses of feeling swing between norm and chaos, reality and delusion. The function of move to view not only practices the meaning of fulfillment but also produces a sense of narrative that only belongs to the beholder. In a way, a self-determination of seeing is to represent how we fuse our conscious, subconscious, and emotion to generate what we cast in real life.
火之戒
75 x 75 x 7 cm, 全畫面 105 x 75 x 7 cm 木板, 膠彩, 壓克力彩, 棉布, 木作. 2022
「火之戒」是一件關於跟童年對話的作品。
Ring of Fire 又譯為「火之環」它有兩個含義： 第一個，從一般意義上講，是指環繞在世界各地的活火山路線。 比喻地說，這就像一段關於生命的旅程，危險卻又生機蓬勃。另一個含義來自 “Ring“ 也有戒指的意思。它是承諾和獨有性的象徵；對於成長的情緒就像是童年給的約定之物，只會燃燒掉"不是我"的部分。漸漸昇華成像是片段和原則的東西，照亮了我們來時的途徑與前方可能的道路。
這件作品利用結構結合了兩種畫面，光亮面和陰影面，過去的一部分和現在的一部分，以及它們共存下的衍生品。
THE Ring of Fire
75 x 75 x 7 cm, wood, Gouache, Acrylic, Cotton, on wood. 2021
Ring of Fire. It is about having a conversation with our past. There are two meanings in Ring of fire. One, in a general sense, is a route to locate active volcanoes around the world. Metaphorically speaking, it looks like a long journey of lives, dangerous but thrilling. Another meaning comes from a ring being an accessory. It is a symbol of promise and exclusivity that I wish my nostalgia were a gift from childhood. It would be like a token of promise, always light and driving me to do more. The shape of this work combines two visions in it, a light side and a dark side, a part of past and part of now, and a derivative.
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光之名
75 x 75 x 7 cm, 全畫面 105 x 75 x 7 cm 膠彩, 棉布, 純金箔, 洋金箔, 木作. 2022
『光之名』跟『火之戒』是連貫作品，『火之戒』講述了童年的獨特性，在生命歷程中，童年就像火一樣會燒掉不是我的部分。
相反地，『光之語』側重在傳達「憧憬」是一個人想要成為的「還不是自己的自己」和自我認同的開始。 這件作品的外觀是一場絢麗的抽象火雨，火是無形目標的象徵，很模糊，但又閃閃發光。 我們幾乎無法了解我們所敬拜的人、事物或地方的全貌。 僅根據一些信息和濾鏡心理，在我們的想象中看到它的完美和不完美。 我用光的語作為這件作品的形象和標題，來描繪敬拜的熱切，行為中信念的力量，以及我們在其中投射的理想自我。
THE Epigraph of light
75 x 75 x 7 cm, Eastern Gouache, Gold leaf, Silver leaf, Cotton, on wood structure. 2022
In Ring of Fire, it talks about the exclusivity and particularity of childhood that like fire will burn the part of not me in time.
Contrariwise, Epigraph of Light focuses on the sense of worship that includes a not-me-but-me image or self-identity a person wants to be. The appearance of this work is a brilliant abstract rain of fire. The fire is an emblem of intangible targets, it is very fuzzy but gleaming. We barely can know the whole picture of the person, thing, or place we worship. We see its perfect and imperfect based on some information and our filter in mind. I use the Epigraph of Light as the image and title to portray the eagerness of worship, the power of faith in action, and the ideal self that we project in it.
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三胞胎中的其中一個
170 x 81 x 15 cm 壓克力, 亞麻布, 木作. 2022
這件作品利用摺疊和置換分割場景，來呈現當直覺與現實發生衝突時，我們形成人格的時刻。作品在平靜柔和的色調中有著些微妙突兀的元素。一群言行一模一樣的小孩，一個反方向的路標，一個來自樹林的風聲擬聲詞。在隨機排序的畫面場景中，我通過這些安排和作品形式，讓作品看起來像是漫畫的分鏡，給人一種回憶感和情節感。
我把這件作品視為過去和記憶折疊出的窗口。作品的畫面像是在重播著某個時刻，那種微小的、奇怪的、與你的理解相反的事情，總會讓人印象深刻。畫面上描繪了一個具有三種不同自我和心理視野的人——天真、古怪和內向們齊說：雖然你們總是絆倒我，我仍然愛你們。我想呈現人格形成時交織在一起的衝突感，我們不斷收集自己的想法，為了讓自己的模樣清晰起來。
TRIPLET
170 x 81 x 15 cm Acrylic, Linen on wood structures. 2022
The artwork utilizes folding panels and shuffling segments of a scenario to portray a moment that we form our personalities when our intuition conflicts with reality. I incorporated calm and soft-tone colors with several subtle intrusive elements in this artwork. A group of kids who act and talk exactly the same, a road marking in a reverse direction, a wind onomatopoeia from the woods, and a random sequence of the whole scenario. With these arrangements and forms, the artwork appears like Manga quality that depicts a sense of memory back and plot.
A beholder in front of this artwork may see it as a window of memories and past. The view seems to be like replaying a dinky moment in time when you felt about something so strange that opposes your understanding. I portrayed 1 person with three different personalities and psychological horizons, --the naive, quirky, and the introvert saying: you guys always trap me , I still love you though. I presented an intertwined sense of conflict when we form our personalities. We will keep gathering our own thoughts just to put ourselves together.
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