作品敘述
東方藝術的創作境地裡，自古不論是繪畫、書法或篆刻，「變化」一直都是藝術傳承脈絡的基本宗旨。「或小或大、或長或短、或豐或瘠、或正或側」等，從古代書畫理論書籍中時常得見，以至於古人所謂「無法」，例如東坡先生所云：「吾書意造本無法，點畫信手煩推求。」而筆者以為，不論有法無法皆出於法，而創作是一輩子的事，鄭板橋先生曾於作品款文中有詩云：「四十年來畫竹枝，日間揮寫夜間思；冗繁削盡留清瘦，畫到生時是熟時。」再怎麼說，時間與經驗的積累是必然，但求時時刻刻盡其所能，反映當下的自我造詣。
In the creation of oriental art, whether it is painting, calligraphy or seal cutting, "To make changes" has always been the basic purpose of art inheritance since ancient times. Changes like "Small or large, long or short, rich or barren, front or side" etc. are often seen in ancient calligraphy and painting theory books. Therefore ancients said "no law" meaning no certain standard in art, such as what Mr. Su. Dongpo, a famous poet and artist in Northern Song Dynasty, said: "My calligraphy comes from my inspiration and follows no others, every strokes is writing casually without painstaking deliberation.” But I believes that whether there is a law or not, the creation itself comes from law, and it is a lifetime thing. Mr. Zheng. Banqiao once wrote a poem on his painting: “Drawing bamboo branches for forty years, Painting during the day and thinking about it at night; cutting away the cumbersome trivia to keep it thin, mastering it when feeling unfamiliar with it.” After all, the accumulation of time and experience is inevitable for producing good art. What I wish to myself doing my best at all times so that my art reflects the achievement of my self-cultivation.