「贊境」一詞，來自民間信仰中的祭典儀式和與繞境活動。贊境，即是交陪、參與、逗熱鬧，也是進入祭典儀式之境內/界中。進入交陪境，我的身體同樣是，儀式中的身體、繞境中的身體、慶典中的身體和繪畫中的身體等重疊複數的身體感知，於繪畫的境界裡對故鄉的信仰文化「贊境」。祭典儀式的氛圍，是由各式各樣的祭儀器物、祭典流程和人所形塑出的現象與身體感，給予身體感官感覺一種超越時空的奇特刺激。傳統民間藝術為祭典儀式提供出豐富深刻的歷史圖像、符號、色彩與形式，這些視覺圖像語彙是記憶內部的感覺密碼，驅動著過去與現當下之間的連結，迸發出感覺的各種精神的流動狀態，再提煉、轉換化為繪畫性的各種表達，開展出多元層次的繪畫表現。

The French term, célébration, is used as the title of this exhibition to represent the sense of companionship, participation, and festivity in the traditional parades held by temples in Taiwan to worship deities and pray for their blessings. The French term is also intended to represent my entering into the realm of worshiping ceremony as a participant. My body in the ceremony, my body in the parade, my body in the festival, and my body in the painting all add up and overlap to form the plurality of my physical perceptions about the grassroot religious culture of my hometown. The atmosphere of a worshiping ceremony is constituted by all the different kinds of ceremonial utensils, the procedure, and participants. It renders a kind of peculiar stimulation transcending time and space to the physical perceptions of both participants and onlookers. The traditional folk art of Taiwan provides me with a profound visual rhetoric composed of rich historical images, symbols, colors, and forms. These elements of such a visual rhetoric are like codes of physical perceptions in my memory, not only stimulating the formation of connections between the past and the present but also inspiring the flows of different feelings and emotions. By refining and converting what I extract from the visual rhetoric into different possibilities of painting expression, I have been able to explore multiple dimensions of painting.