作品敘述
繪畫實踐之形成，起始於筆者意識探詢中，天地交感的氤氳之狀與隱晦於意識裡的那份內傾狀態，這份感知轉化成畫面中的墨與韻，藉由大量且緩慢漸變的深沉墨色來進行推衍，呼應其沉默的游移也召喚混沌之氣，同時隱現出筆者內斂之精神。經由數十遍的暈染疊加，在平面的畫作上調和出山形的厚度與意識的深度，企求以「沉墨」之視覺樣態，在形塑自身與自然間、意識與表象間之《沉默山水》個性化的創作語彙。以〈惡地裡的溫柔—通天之門〉為例，可以看見其中墨韻的變化，它不具誇張化的戲劇效果，也不具強烈感的視覺衝擊，純粹以最平淡的方式，由淺色墨韻層次慢慢暈染至深色，以清而不淡，濃而不濁為目標，在形塑山體的同時，也組織筆者的意識。此時，隨著惡地（險峻的山）與溫柔（緩慢漸變的墨色）並置，除了體現《沉默山水》山水之雄渾外，也顯現出筆者所探詢的各種介於現實與非現實的體悟。
The formation of painting practice starts from the author's consciousness exploration, the confusion of the empathy between heaven and earth and the introverted state hidden in the consciousness, this perception is transformed into the rhyme of ink on a paper, extended by a large number of slowly changing nuances of heavy ink color, to echo its silent state of wandering and summon the energy of chaos, also loom the author's inner spirit. After dozens of times of smudging and superimposition, the thickness of the mountain and the depth of consciousness are formed on the two-dimensional painting, intending to show a kind of personalized creative vocabulary that creates a so-called Silent Landscape between self and nature, consciousness and appearance, by the visual look of "sinking ink". Take " Gentleness in the Badlands—The Gate to Heaven" as an example, people can see the changes in the rhyme of the ink, which does not have exaggerated dramatic effects, nor does it have strong visual impact, but purely composed of layers of ink colors in a gradient from light to dark in the most plain way, with the goal of being clear but not light, thick but not turbid, to shape the mountain as well as organize the author's consciousness.
With the juxtaposition of badlands (precipitous mountain) and gentleness (slowly changing ink color), in addition to reflecting the majesty of a Silent Landscape, it also shows the various realizations that the author explores between reality and non-reality.