在「我不知道如何為它命名」中展出的作品為2016年所開始發展的三個作品系列，包含了「Ghost」、「塊肉」以及「迴旋事件」，三個系列的作品看似各自表述，但實為一個總合的不同層面，每個層面亦能相互交織，呈現出無單一主軸的敘事體，這也是我將這個展覽稱為「我不知道如何為它命名」的原因之一。

The three series, ‘Ghost’, ‘Lump of Meat’, and ‘Swirling Event’ that display in “I Don’t Know How to Name It” exhibition are developed from 2016. Three series of works seem to express their own interpretations respectively, but actually a whole formed by combining several elements. Each separate unit can also be intertwined, showing a narrative without a single spindle, which is one of the reasons that I call this exhibition "I do not know how to Name it".

在「Ghost」這件作品中，我製作了三個如同衣架的台座放置於展場中，並懸掛上拼貼了衣服特徵的白布，看似襯衫、T-shirt、褲子、裙子……，但確無從確認它的功能與定位。在「塊肉」這件作品中，我將身體局部的影像以電腦後製成一個無法準確稱之為＂人＂的塊體，並利用裝裱上的反射特性以及畫面中不穩定的空間製圖，呈現出主題的曖昧以及不確定。而「迴旋事件」則是利用透明壓克力板加熱後，摺曲出連續確又斷裂且相互關係模糊的空間，並在其中置入符號，使其相互拼接或是拆解。這三個系列的作品皆試圖碰觸我們生活中對於事物定義的浮動邊界，這也是我將這個展覽稱為「我不知道如何為它命名」的原因之二。

For ‘Ghost’, I made three stands like hangers and placed in the exhibition, hanging on the white fabric with sticking the characteristics of clothes, looks like shirts, T-shirt, pants, skirts..., but no way to confirm its function and positioning. For ‘Lump of Meat’, I edited image of part of the body into somehow it could not be accurately described as "human" block, and used of framing its reflection characteristics and creating unstable space in the picture, showing the theme its ambiguous and uncertain. For ‘Swirling Event’, I used transparent acrylic plate and heated it, folding continuous but fractured shapes that within an undefined fuzzy space, and in which the symbol is placed so that they spliced or dismantled each other. The three series of works try to touch the floating boundaries of definitions that we have already made in our lives. Above is another reason that I call this exhibition "I do not know how to Name it".


因此，在這個展覽中，＂分裂＂會是一個閱讀的關鍵點，也是我對於自身狀態以及生活的形容，我們始終不斷的投入各種身份、時空、意識當中，並且學習順利的轉換變化，甚至形成一種自然的反射動作，這樣的來回轉化讓我們的形體與感知趨近於多重且跳動的複雜狀態，而這樣的狀態似乎也無須過度緊張或是驚訝，這是當今再普遍不過的生存模式，無常便是日常。

Thus, in this exhibition, the "split" would be a key perusing point, also a statement of my own status and the life description. We keep putting ourselves into the various identities, time and space, awareness, and learning converse the changes smoothly, and even transforming our natural reflexive actions that bodies and senses into a complex and rolling complicated state. It does not seem to be unnecessarily tensed or astonished for this kind of state, which is today a very common pattern of survival, ever-changing is not changing.

【創作理念 Creative concept】
因為不斷的崩壞與頹靡，所以我們不斷的出走與覺醒。Because of constant collapsing and slumping, we keep escaping and awakening.

我想，關於日常的不確定性，一直是我創作的起點，我始終對於＂灰色地帶＂感到好奇，就像我容易受到清晨天空微光的吸引，它掩蓋了某部份的真實，確又顯現出另一部份的真實，在黑夜之後，天光之前，這種渾沌始終迷人。於是，無論在我的創作歷程或是結果中，這樣的＂不確定感＂是刻意被顯示的，＂懸置＂的氛圍將是作品給出的重要部份。
I think, about the daily uncertainty, has always been my starting point for creation, I curious about the "gray zone" all the time, as I am inclined to attract by the shimmer of early morning sky that covering a part of the real but showing another part of the reality. Between darkness and brightness, this chaos has always been charming. In process of my creation, or the outcome, such "uncertainty" is deliberately displayed, and the atmosphere of "suspension" would be an important given part of the works.

而在創作媒材或手法的使用上，我常以＂未完成＂做為核心，這不指向作品外在形式或是技術層面，而是刻意保留作品的詮釋可能，這個形容詞對我而言，也如同生活中的種種追問。
In the use of creating materials or techniques, I adapt to the "unfinished" as the core but not to those external forms or technical levels, and try to keep the free interpretation of the works. “Unfinished” also can be the various questions in my life.