展覽論述｜
　
「保持上班」個展包含〈保持上班〉與〈五指山降臨〉兩系列作品，描繪對於服役的回憶和在服役時水深火熱的生活。

〈保持上班〉回顧退伍後的這一年，我發現大多數的記憶只剩每天逃去工作室畫圖的路程，以及放假時和朋友去遊玩的印象；對我來說，這些回憶片段才稱得上是上班，而不是服役期間做的那些工作。平日騎車去工作室、打卡、畫圖、吃晚餐後再騎回單位點名，這樣的標準流程將創作營造成上班的樣子，假日出去玩在這一年中相當重要，剛開始只是放鬆心情，久而久之變得像一種儀式，不這麼做好像就無法繼續上班創作。「保持上班」這個展名像是對自己的期許，說的是退伍後的我能持續做作品，也能一直跟朋友歡樂出遊。

〈五指山降臨〉系列是以平面繪畫、立體雕塑與文件記錄三種形式所組成。在平面繪畫方面以油彩的形式為主，描繪內容從畢業後面對家庭生活，到當兵時吃飯、住宿、搭車等場景，再分別以新兵訓練、專業訓練以及下單位服勤三個不同階段作對比，顯現不同的緊繃程度與環境。由於當兵的緣故，在創作時間上受到極大的壓縮，每當可以到工作室創作時都更加珍惜，到後來發展成有到工作室時就打卡記錄，對於當兵的人來說就是像顛倒的上下班，久而久之便形成〈顛倒打卡機〉這件作品。最後立體作品方面，我把服勤單位廢棄的文件公文打成紙漿，將這些紙漿捏塑成五座高山。除了做出紙山之外，我把打卡完的紙張以及在受訓時畫的草圖、寫過的日記影印過後，浮貼在紙山上。這些浮貼的紙張也像是拜拜時的祭品跟符紙，祭拜著自由與拘束並存的這一年。

Statement｜　
　
The “KEEP” solo exhibition includes two series of works, ‘KEEP’ and ‘Mt.WuZhi’, depicting memories of serving in service and the abysmal condition while in service.
　
Looking back on the year after being demobilized, I found that most of the memories are the way to draw pictures in the studio every day and the impression of playing with friends during vacations; for me, these memory fragments are really "be on duty", not the jobs that the alternative military does. Daily riding to the studio, punching in, drawing, eating and then riding back to the training unit, this standard process makes the creation look like working. Going out on holiday is very important in this year. At first, it was just relaxing. Over time, it becomes like a ritual, if you don't do it, you can't continue to work. The title of "KEEP" is like a wish for myself, saying that after I were demobilized, I can continue to work and can always have good time with friends.
　
The ‘Mt.WuZhi’ series is composed of three forms: painting, sculpture and document records. In painting, oil painting is used as the main medium, depicting scenes from facing family life to eating, lodging, and riding a car after graduation, through three different stages of recruit training, professional training, and serving in the unit for comparison, it shows different degrees of tension and environment. Due to the mandatory military service, the time of painting creation is greatly compressed. Whenever I can go to the studio to create, it is more cherished. Later, when my art creative space develops into a studio, I record by my punch card. It is like an upside-down commuting for me. Over time formed the ‘Upside down Punch Machine’. Finally, in the sculpture works, I turned the discarded documents and documents of the service unit into paper pulp, and molded these pulps into five mountains. These pasted papers are also like sacrificial offerings and rune papers during worship, worshiping the year when freedom and restraint coexist.