我的創作以生活中的空間與物件為題，透過撿拾與重組的方式，完成對於空間的填補與刻畫，構置有關空間的內在情境。

My works are themed with space and objects of life. By the way of collecting and restructuring, I complete the fill-in and the characterization of space and construct the internal circumstance related to space.

畫面中的物件相連著許多情景，他們的展開從許多記憶的片段開始：經常光顧的日式料理店中，令人看得出神的圓弧圖形壁紙。從租屋處往下望去，空無一人，散落著枯葉的社區游泳池。回家時，堆置在頂樓，佈滿塵埃的舊傢俱，眼前的落地窗透進微微的光，照射著它身上鮮少使用的痕跡。在這裡，物件是構成情境的主體，被安置在其中，作為情感鋪陳的象徵，試圖延續它們在生活中的故事。

The objects seen in the space connect with many circumstances. They are deployed from fragments of numerous memories: the fascinating circular wallpaper in a japanese restaurant where I eat frequently; the empty swimming pool littered with dead leaves in the community which can be seen when I look down from my apartment; the traces of the old dusty furniture placed in the attic at home, that shows it is rarely used, is illuminated by the slight light shines through the French windows. Here, objects are the main part that compose the circumstance. They are placed in it as symbols of the elaboration of emotion which tries to continue the stories in life.

二〇一三年開始，窗框的意象，在作品中的發展成為創作的另一方向。在畫布上，窗框的使用將紋樣與色塊區隔，劃開了空間彼此的遠近距離。同時，經由觀看的暗示，窗框內的圖像成為裝飾畫、遠方的風景，心靈的映照，交織出投射於其中的情景生活。

Since 2013, the image of window frame has developed as another direction in the works. On the canvas, the frame separates patterns and color blocks and cuts open the distance between each other in the space. At the same time, through the implication of watching, the image in the frame becomes a decorative painting, a distant landscape, the reflection of soul, and the image interweaves the circumstance projected.

相較於以往的創作，此次的創作更寄情於窗框內的圖像，透過絹印與平塗等技法交相使用，這些情景組織著日常生活中流動的情感，某個片段的經驗與延伸。身為版印出身的創作者，絹印作為創作的技法之一，它在畫布上的呈現濃縮了絹版印刷自身繁複的製作過程，將製版、曝光、沖版，轉化為扁平、細緻的紋樣，並以人為操作上的刻意，讓網花與刮墨的力道作為此種技法的特殊性。平塗技法在此表現對於物理空間的構成，我將空間簡化，以色塊的厚度與其肌理來堆疊出有關室內空間的形式，它們置換成自身觀看空間的邏輯。而此次的創作中，也以流動的顏料來象徵滿溢而出的情感氛圍。

Comparing to former works, this time, the creation is more focused on the image in the frame. Through the cross using of technique of serigraphy and flat coating, these circumstances organize the floating emotion in daily life, certain fragment of experience and extension. As an engraving artist of origin, serigraphy is one of the techniques I use for my creations. It's presentation on the canvas condenses the complicated process of serigraphy itself. Plate making, exposure, rinse of plate, are turned into flat, meticulous pattern, and through the sedulous artificial operation, the strength of meshed pattern and ink scrap shows the particularity of the technique. The flat coating technique used here to display the construction of physical space. I simplify the space, pile up the form related to interior space with thickness and texture of color blocks, they change into logic of their own viewing space. The floating pigment is also used to symbolize the overflowing emotional atmosphere in these works.

相同的場景作了多次的描繪，它們在過程中慢慢的有著各自的樣貌，並投射出記憶堆疊之後的幻境。在重組的狀態裡，保留物件與空間彼此之間的聯繫，有時是記憶的，有時是色彩的，有時則是交互進行著，模擬生活中的情境。在這之中所生的情感與痕跡，漸漸的與我自身所處的空間、時間、記憶彼此相連，構置出此次的情景生活。

The same scenes are depicted many times, they have their own appearance gradually in the process and project the illusion of memories piled up. In the state of restructuring, the contact between objects and space is sometimes memorial, sometimes colorful, and other times interactive. It simulates the circumstance in life. The traces and emotions born in the circumstance, connects gradually with the space, time, memories of myself, and construct “Circumstance”.