皮鞋與沙堡

2023
視場地而定
皮鞋、窗簾、鹽、胡椒、丁香、肉豆蔻、肉桂

作品《皮鞋與沙堡》裡，光束聚焦在有如被灰塵覆蓋的皮鞋上，使用破損的痕跡暗示著某種正式場合除役的身份，循著粉塵的痕跡，將看到有如兒童於海邊嬉戲所堆成的沙堡，詭異的呈現於室內地毯之上。然而這似粉塵或沙之粉狀物，是混合了鹽、胡椒、丁香、肉豆蔻與肉桂等香料製作，以此召喚從香料戰爭中，人們資源掠奪引發的商業和政治爭端的記憶。此作品藉由身體感與視覺想像的錯置化，意圖將香料在餐點中，這僅是「調味」而非主食的配角，給予「凝視」的位置，將這不可會缺的角色與歷史意象於意識中交織，呈現某種對慾望的弔詭與經濟、權力發展的悲觀想像。

Shoes and Sand Castle

2023
Dimensions variable
Leather shoes, curtains, salt, pepper, cloves, nutmeg, cinnamon

In Shoes and Sand Castle, the light beam gathers on the shoes that seem to be covered with dust, the traces of damage hinting at a retired formal identity. Follow the traces of the dust, and viewers will see sandcastles reminiscent of the ones built by children on the seaside, eerily presented on an indoor carpet. However, this powder resembling dust or sand is a mixture of various spices, including salt, pepper, cloves, nutmeg, and cinnamon, hinting at the commercial and political conflicts that arose during the battle for resources during the Spice Wars. Through the displacement of bodily sensations and visual imaginations, this work places spices, which initially existed as supporting roles merely for "flavor," at the center of the "gaze," weaving the irreplaceable elements with historical imagery and consciousness to present the absurdity of desire, as well as a pessimistic imagination toward the development of economy and power.

光譜

2016
7x25x854 cm
搜集超商與賣場之瓶裝茶

《光譜》透過搜集連鎖超市與超商之瓶裝茶飲品，除去包裝後，根據茶本身俱有之顏色，呈現一種光譜狀的漸層。此作品專注於各類瓶裝「茶」的搜集，重新思考全球化與在地化中，脫離傳統卻充斥於生活周遭「喝」的文化。大量的各國瓶裝茶，作為一種文化現象的暗喻，承載著關於記憶與文明行為的轉變。這些被命名為某某茶的飲品，無論是俱有地方特色的小眾名產，或是行銷全球的國際品牌，在褪去包裝之後，重新的以其自身顯現。聚集中，水平線上形成為一道可見的光譜，一種商業資本主義下的些許詩意，重新喚醒人、茶、文化、經濟、記憶與想像的思考。

Spectrum

2016
7x25x854 cm
Bottled tea collected from convenience stores and supermarkets

Spectrum gathers bottled tea from supermarket chains and convenience stores, and after removing the packaging, the color of the tea is showcased as a gradient spectrum. The work focuses on the collection of different bottled "tea" and reconsiders the "beverage" culture that is detached from tradition but ever-present in everyday life, as well as amid the context of globalization and localization. The large quantity of bottled tea from all over the world is a metaphor for certain cultural phenomena embodying changes in the memory and behaviors of civilization. These tea drinks, either local specialties targeting a small group of consumers or international brands marketed worldwide, are presented without packaging. Through the accumulation, a spectrum appears above the horizontal line, showcasing poetic attributes under commercial capitalism, reigniting contemplations toward people, tea, culture, the economy, memory, and the imagination.

信手舔來

2014
240x50x10 cm
木料、漆

小時候會隨手將一些物品賦予「擬人」的概念，隨手的各式物件都有可能變成巨人、飛龍或是具有神力的超人。長大了，「擬人」成為給予「物」特殊身份的方式。《信手舔來》想法源自於隨手畫在冰淇淋木湯匙的眼睛，將其想像成獨眼巨人，而這身材短小的巨人分身，是依照木湯匙的原始大小，等比例的放大，一個高兩百四十公分的巨型湯匙，兩者並置。大與小的身體相對性，巨人與小精靈的想像，冰淇淋缺席與回憶的腦補，都在相互對話與辯證。此外，觀者將可以注意到小湯匙被安置在小台座上，大湯匙則否。拋棄式餐具與他的分身，跳躍式的建立對物件的閱讀可能。

Lick

2014
240x50x10 cm
Wood, paint

When we were young, we would "personify" objects around us, transforming them into giants, flying dragons, or superheroes. As we grow up, we "personify" "objects." Lick was inspired by an eye randomly drawn on a wooden spoon for ice cream. The spoon is imagined as a one-eyed giant, and the short-torsoed giant is enlarged according to the original proportions of the wooden spoon as a giant, 240-cm-tall spoon, and the two are placed together. The contrast between the large and small bodies inspires the imaginations of a giant and an elf, while the absence of ice cream and conjured memories engage in dialogue and dialectical contemplations. Viewers will also notice that the small spoon is placed on a stand while the big spoon is not. Disposable utensils and their identities construct leaping possibilities for interpretation.

法國朋友

2015
75x35x75 cm
網球拍、薯條

對於以馬鈴薯為食材，切成條狀油炸的食物，在中文裡俗稱薯條。然而在英式英文裡稱之chips。在美式美語中則為 french fries。關於這食物的起源也眾說紛紜，比利時與法國各執一詞。而從對此食物的指稱方式，也可辨認地緣文化上的差異。作品《法國朋友》以朋友之名，聚集美國運動用品商，以製造籃球聞名的斯伯丁（Spalding）網球拍與美國連鎖商店(chained store)的麥當勞薯條（French fries）。兩者之間的關係又似薯條的生產方式，又如躲在背後的陰影，影子的暗示、名稱的象徵與看不見的歷史，相互拼貼著某種權力上的賦予。當人們試圖「正名」或是爭執薯條的起源時，又是誰將七月的第二個星期五定為「國際薯條日」（National French Fries Day）呢？

French Friends

2015
75x35x75 cm
Tennis racket, french fries

Made with potatoes cut into strips and deep fried, the delicacy is called "chips" in British English and "French fries" in American English. There are different opinions as to the origin of the food, with varying versions in Belgium and France. How the food is referred to also shows differences in geography and culture. Named "French Friends," the work gathers US sporting goods brand, a tennis racket by the basketball brand Spalding, and French fries from a US chain store. The connection between the two resembles the production method of French fries or shadows hiding in the background; the implication of the shadow, the symbolism of the name, and the unseen history are all pieced together, attributing some kind of power. As people attempt to "correct the name" or argue about the origin of French fries, we cannot help but wonder: who designated the second Friday of July as "National French Fries Day?"

幻化為日夜，看不見自己

2019
單件21x27 cm，共十一件
用糖衣色素繪畫

糖衣或色素有如我們的長相一般，作為相互認識的第一個介面。《幻化為日夜，看不見自己》以Ｍ＆Ｍ巧克力與綺果彩紅糖的糖衣，當成繪製水彩的顏料來源，以水彩筆沾水，將色素洗下的方式，繪製於水彩紙上。由於Ｍ＆Ｍ巧克力一包有六種顏色，所以我繪製了六張他/她們的肖像，綺果彩紅糖有五種口味，於是我繪製了五張肖像。Ｍ＆Ｍ巧克力的外觀不同，味道卻是一致的，而綺果彩紅糖的不同顏色外衣，則說明了內含身份的不同。Ｓ與Ｍ的強調，區分了兩者相似卻相異的族群區隔。透過將他/她們並置在一起成列，以表象元素的轉化，再次「再現」一個屬於外顯的符號，重新詮釋一個的零食關於分類、名稱與自我身份的可能。

transform into day and night and cannot find myself

2019
21x27 cm each, 11 pieces in total
Painted with sugar pigment

Sugar coatings and food colorings are like our facial features, the first interface when meeting someone for the first time. The work I transform into day and night and cannot find myself uses the colorful sugar coatings of M&M chocolates and Skittles as the pigment for watercolor. Using a wet watercolor paint brush, the pigment is brushed off and applied to watercolor paper. Since there are six colors in a bag of M&Ms, I have painted six portraits; there are five colors in Skittles, so I painted five portraits. Despite their different appearances, all M&Ms taste the same, while the different colors of the coating of Skittles indicate different flavors. The emphasis on "S" and "M" differentiate between similar but different groups. By placing them together in a line, the transformation through appearances once again "re-presents" outer symbols, reinterpreting the possibilities of categorization, naming, and identity of snacks.

星塵

2020
單件28x39 cm，共六件
用糖衣色素繪畫

同樣以Ｍ＆Ｍ巧克力的糖衣色素作為顏料，繪製一顆一顆的點狀圓形，隨機的繪畫於水彩紙上。色素在食品加工中，扮演著錦上添花的角色，與食物品嚐的味覺沒有直接關係，然而添加色素增加吸引力，提高產品外觀和質感，視覺上的考量所引起的心理感受，卻影響著某種體驗的可能。一如《星塵》裡所繪製的Ｍ＆Ｍ巧克力，起先我將其想像成宇宙中如星星般的存在，非刻意的佈局於紙張，然而在分散無序裡，卻也可以有意識的看出某種模式或趨勢的排列，將其視為相互聯繫和有意義集合的星座，當然，也可以將其視為僅是漂浮於宇宙中的微小顆粒—星塵。

Star Dust

2020
28x39 cm each, 6 pieces in total
Painted with sugar pigment

Also created with pigment from the sugar coating of M&M chocolates, round dots are randomly painted on watercolor paper. Pigments play decorative roles in food processing and do not have direct relationships with the taste of food. However, food added with pigment has more allure and adds to the appearance and attributes, while the mental effects created through visuals alter the experience. The M&M chocolates in Star Dust are initially imagined as stars of the universe instead of intentionally arranged on paper. However, amid the disarray, there is an intentional pattern that allows the dots to be seen as connecting and meaningful constellations; of course, viewers can also see them as small particles floating in space: star dust.

甜甜圈

2015-2016
160x160x70 cm
FRP、烤漆

作品《甜甜圈》將平日甜甜圈的形象放大，並將小人模型放置於粉紅色糖霜上躺著，形成遠看狀似視覺裝飾的彩色巧克力米，近看則可樂觀解讀小人悠游於糖霜或悲觀溺斃的景象。在此，放大的甜甜圈除了作為對於甜食嚮往與沈溺的表徵，也是過度甜膩下的噁心，既可以是主食，也可以是甜點，一種介於必需/非必需二者之間的對於慾望的暗喻。此外，大型的甜甜圈，近乎將「食/物」神話性，成為非日常的觀看，這沒有實體中心的食物，像極了填不滿的黑洞，同時在觀者凝視時，既像嚮往崇拜的欣賞與也類似靈堂瞻仰的雙重解讀可能。

Sugar Ring Doughnut

2015-2016
160x160x70 cm
FRP, baking paint

Sugar Ring Doughnut enlarges the doughnut and places miniature human figures on the pink frosting, which appear like decorative, colorful chocolate sprinkles from a distance. Up close, it could be interpreted either optimistically as small people leisurely relaxing in the frosting or pessimistically as figures that are drowning. The enlarged doughnut is not only a symbol of longing for indulgence in sweets but also represents nausea induced by excessive sugar. It can be a staple food and a dessert, a metaphor for "desire," straddling the line between necessity and extravagance. Furthermore, the colossal doughnut almost mythologizes the "food/object," turning it into an extraordinary spectacle. This food, devoid of a physical center, resembles an insatiable black hole. Through the viewer's gaze, it invites dual interpretations: admiring an object of desire or paying homage in a memorial hall.

葡萄

2021
60x40x300 cm
仿真葡萄、魚線、葡萄

少數服從多數的社會裡，群聚總作為一種社群共識集結的「權力」，而離開社群者則通常被指為「異端」，二者涉及著某種既連結但又相斥的特質。藉由兩組數量懸殊的「仿真葡萄」與「真實葡萄」搭配，一組將仿真葡萄接續的連結，串連出超過三百公分的葡萄樣態，呈現現實中不可能的生長狀態，類似某種基因變異下，異質性生長，並從至高處垂落於地面。另一組葡萄則是狀如掉落、散落於展場，分離於成串假葡萄的真葡萄。以此探討「整體」與「個體」之間的關係。作品《葡萄》透過仿真的再現物與其模仿對象的並置，形成整體上無違和的統調感，單顆葡萄在外觀上，也幾乎難以區分真假差別，「整體」就如同一個大家庭，然就「個體」而言，身為少數的真實葡萄，又對立於整體本身。

Grape

2021
60x40x300 cm
Simulated grapes, fishing line, grapes

In a society where the minority follows the majority, crowd gatherings are viewed as "power" that represents the consensus of the collective, and those that leave the collective are often labeled as "heretics." Power" and "heretics" entail qualities that are at the same time connected and at opposites. The work shows "simulated grapes" and "real grapes" represented in disparate quantities. The "simulated grapes" are over 300 cm long, a state that is impossible to be seen in reality, resembling some kind of heterotypic growth under genetic mutation, hanging toward the ground from a high point. Another set is real grapes displayed as if falling to the ground and scattered across the exhibition space. The work explores the connection between "the collective" and "individuals." Through juxtaposing replicas with the objects that they mimic, Grape presents an overall sense of harmony that is not discordant. On the surface, it is almost impossible to differentiate between real and fake grapes. The "collective" is like a big family, but for "individuals," the real grapes that make up the minority also stand in opposition to the collective.

草莓

2023
視場地而定
影像

在夢中，草莓鮮紅色與多汁的外觀往往與誘惑和慾望相關聯，可能象徵著對生活中的誘惑和慾望的追求。在夢中，草莓因其產季在春天，因此常被解讀為青春、活力和純真等代表著年輕時光、純真的愛情或美好的回憶。在夢中，草莓的成熟和腐爛的快速週期，似乎暗示著時間的流逝和事物的短暫，提醒珍惜當下與把握機會。在夢中，草莓因容易受到外界環境的影響而變壞，它們可以被視為脆弱和易碎的象徵，述說生命的脆弱性與珍貴。草莓作為夢裡閃過的圖像，能這樣邏輯的被理解嗎？抑或非真實世界的寓言，正弔詭的述說著一些事？

Strawberry

2023
Dimensions variable
Image

In dreams, red and juicy strawberries are often associated with allure and desire, perhaps symbolling the pursuit of allure and desire in life. Since strawberries are harvested in Spring, they are often used to represent youth, vitality, and innocence, representing young times, pure love, or beautiful memories. In dreams, the short cycle of strawberries' ripeness and decay hints at the passing of time and the brevity of events and objects, reminding us to cherish the present moment and grasp opportunities. In dreams, strawberries are often damaged by outer conditions and are seen as symbols of fragility, narrating the vulnerability and preciousness of life. As images that flash by in dreams, can they be understood logically in this manner? Or are they parables of the unreal world, paradoxically telling us something?