摺紙、紙膠帶、新詩輸出於相紙、油彩、畫布、卡點西德，尺寸一場地而定，2023
Origami, masking tape, poem on photographic paper, oil on canvas, cutting sheet, size varied, 2023
Oil on canvas, 5 poems, phone screens, clay, wood panels, stone carved stamp, books(Sophie Calle《Douleur Exquise》, Charles Bukowski《 Love is a Dog From Hell》, 2023
I have a folder called “poems” lying inside my computer filled with ten verses or more, written during the course of a relationship- from me to you, and you to me. Sometimes, I would open it and look at the words that were almost forgotten. Strangely, I feel as though I am peeping into the tragedy that has befallen “others.” As time progresses, these poems quietly slip into traceable words, hinting at the inevitable end of a love affair.
The things that are created inside a relationship are the purest form of art. And when a relationship ends, they become turbid. As these “remnants” are unearthed, we can engage in an archaeology study of what love appears to be.
“We Drowned the Fried Fish” presents five poems and three conversations that carefully illustrate a relationship between two people.
《我們淹死了炸魚》
油彩、畫布、五首詩、手機螢幕、輕質土、木板、石刻印章、書籍（蘇菲．卡爾《極度疼痛》、查理·布考斯基《愛是來自地獄的狗》），2023
我的電腦裡躺著一個叫「Poems」的資料夾，裡面塞著十來首在一段感情中互相通信的詩。有時我會點進去這個資料夾裡，看看那些都快要被遺忘的文字。
奇妙的是，我幾乎感覺到自己在窺視著一段發生在「別人」身上的悲劇。
那些在關係中被創造的，是最純粹的藝術。它們隨著關係的結束而變得渾沌。這些「遺物」的出土，允許我們對愛情的樣貌進行考古。
「我們淹死了炸魚 We Drowned the Fried Fish」以五首詩、三段對話，細細推進一段雙人關係。
Oil on canvas, ceramic, woods, 2020
I was driving on the road one night when I decided to listen to different versions of a Debussy piece by different performers because a friend and I spent the day talking about classical music and I wanted to train my ear to tell its subtleties. I drove slowly at 40km/h, both eyes pulled to the flashing LED signboards that flanked my sides. The Impressionist music contrasted against the man-made lighting fixtures and I felt like i was in a sci-fi movie. This sci-fi sensation brought about a tiredness and fear: for we are always being watched. By the flashing LED, by the blown-up text, by the vibrant colours. We are fed by an overwhelming amount of information and violent aesthetics that cause us to lose sight.
When you live in the city for too long, you start to lose sight, start to forget how to see. The mountain you imagine becomes a single green, the sea you imagine becomes a single blue. March last year in Thailand I drove five hours from Bangkok to Kanchanaburi to reach and find the waterfall. When I arrived at the hotel the sun was already beginning to set. I sat at the riverbank with my beer, the fog rising and covering the trees, the surface of the river, the small boat, the divers with a translucent white. As the sun set, beneath the white were lights in purple, orange, red.
Have you ever been struck still by a natural scene? This was it. The river with the fog was changing every second. Every second it became a new appearance. That day I watched the scene for more than an hour, until darkness fell, until it was only black.
This is our most basic human connection with nature, to restore the sensitivity back into our sight, to restore our bodies’ ability to experience time, to go inward, to touch the soul.
In the process of preparing for this work I kept asking myself: how can I as a creator retain the autonomy of our seeing? By returning to nature, to our bodies’ natural ability to see, to escape from those rules of seeing, or how society has taught us how to see. In painting and in sculpture, we can begin to see from the image, from the text, from the colour. Or we can eventually see by examining the layering of mark over mark and their relationship with time and space as a return to a fundamental way of seeing, to give up our inherited ways of seeing, to a release from seeing.
油彩、畫布、黃陶、木板，2020
某天晚上我開著車在路上，當天因為和朋友聊了一整天古典樂的關係，我在車上聽著不同演奏家演奏同一首德布西的曲子，練習讓耳朵辨認曲子間的細膩差別。我以時速四十的速度緩慢前進，雙眼卻無法自主的被帶進兩排閃來閃去的LED招牌。印象派樂曲和人工照明的衝突感，我突然有一種進入科幻電影的錯覺。這樣的科幻感引起一股疲勞與恐懼：我們被注視著，被LED燈的閃光、被斗大的字體、被強烈的顏色注視著，我們被這樣過量的資訊和暴力的美感餵養，雙眼失神。
在城市裡面生活久了，你就什麼也看不到了，因為你會忘記怎麼看。你想像的山會是一種綠，想像的海只有一種藍。去年三月，我從泰國曼谷開了五個小時的車到北碧府，準備隔天去尋找一個位於北碧府的瀑布。抵達旅館的時候太陽已經準備開始下山，我拎著啤酒坐到河邊，河邊起了霧，所有的樹、河面、小船、跳水的人，都蒙上了一層稀釋過後的白色。太陽正下山時，白色的底部還會透出一些紫光、橘光、紅光。你曾經被一片風景擁抱得動彈不得過嗎？這就是那樣的經驗。起霧的河每一秒都在變化，每一秒都是未曾看過的樣子。那天我看著那個景看了一個多小時，直到夜幕低垂，只看得到黑。這是人類在大自然中時常找到的共鳴，讓感官能夠回到眼睛，讓感受時間的能力回到身體，連結到內心，觸碰到靈魂。
這次我向自己提問，作為一位創作者要如何保持感知的主導權？就像進入一片自然裡頭，那種無需費力就能夠把觀看帶回身體的經驗，逃離社會中所有關於教我們如何去看，那些視覺上的宰制。回到純粹的繪畫性與雕塑性中，在除了圖像、文字、顏色的訊息之外，從痕跡與痕跡之間交疊的關係產生的時間與空間去觀看，這個最終的觀看狀態同時也是個回溯拆解的起點，把觀看所經歷的每一個細節解散開來。
Oil on canvas, green paint, woods, Size varied, 2020
The Devil Dresses in Green is a mixed media installation about the colour green.
In this monochromatic structure, the use of the colour green can be understood in multiple ways.
Historically, medieval european artists depicted the image of the devil as a green creature. Green here can be understood as a pleasant colour with positive connotations, a colour hunters wore so as not to startle their prey. In 1775, Swedish chemist Carl Wilhelm Scheele developed Scheele’s green, a breakthrough in paint which soon replaced all the older, carbonate based greens. However, hidden within its beautiful surface was a very toxic material - arsenic. Scheele’s green poisoned countless individuals over the years, including the former Emporer Napoleon when he was confined on the island of Helena. Eventually, the toxins found within Scheele’s green were replaced to create Emerald Green, which is the colour you see here today.
This installation attempts to break down the colour green as a pure substance and as a consumerist symbol. In contemporary times, beyond the essence of pigment and colour, ‘greening’ may refer to the consumerist branding of environmentalism, ethical lifestyle, and responsible consumption as product. The Devil Dresses in Green juxtaposes the lethal histories of the color within contemporary notions of greening as our salvation within an environmentally precarious world.
油彩、畫布、綠色水泥漆、木板，尺寸依場地而定，2020
《The Devil Dresses in Green》 是一組關於綠色的複合媒材裝置。在這個單色的結構體之下，綠色可以被理解為多種意涵。
在歷史脈絡中，中世紀藝術家將惡魔的意象描繪成一種綠色的生物，在這裡綠色被作為一種舒服的顏色，這樣的概念使獵人在綠色的偽裝下能個防止驚嚇獵物，進而獵殺。而在西元1775年，瑞典化學家Carl Wilhelm Scheele研發了謝勒綠，一種突破性的綠取代了所有過去含有碳酸銅的綠。然而，在這個美麗外表下藏著一種非常致命的物質：砷。謝勒綠的盛行在當時毒害了無數的人類生命，包括了當時被流放到聖赫倫那島的拿破崙一世。最終，謝勒綠被新發明的祖母綠所取代，也就是在畫布上看到的綠。
這個裝置企圖將綠色分解成「顏料本身作為一種物質」，以及「當代消費符號」。在超越顏料和顏色的本質之下，「綠化」在消費主義之下存在的另一種之於環境保護論的可能，合乎道德的生活模式、對物品的責任消費。The Devil Dresses in Green 並列著兩種概念：歷史中作為一種致命的顏色與當代概念中將「綠化」作為岌岌可危的環境世界的一種救贖。這樣綠化的觀看方式，象徵著某種穿上糖衣的誘騙術，是否真正對世界或人類個體執行了它所代表的可持續性的未來？
Island Art Park Residency Project (Site Specific), 2020
一、過多的興奮
「我們容許自己沈迷在人潮的力量，商品的氾濫，以及過多的興奮中。」
在夜市裡縱容著慾望漂浮、每一秒都是視覺的高潮。低頭看著地上的一次性餐具，像是有人貪玩從天上灑落似的，最可憐的莫過於供人試喝的小白杯了，在短短一秒以杯就口的歡愉過後，被隨手丟棄，幸運的進去了垃圾桶，可憐的就只能躺在路上
任人踩踏。在沒了使用價值過後的小白杯，變成了遺留千年的聚丙烯。
二、水湳機場
後面那邊以前有個水湳機場，水湳機場在日治時期被建造，當時是日本陸軍的軍用機場，也是第二次世界大戰日本神風特攻隊的基地。
“時間發生在1964年6 月20日，CT-106號班次的B-908號飛機從台中水湳機場起飛，五分鐘後飛機墜毀於神岡三角村，機上57人全部遇難。遇難者包括20名美國人、1名英國人以及來台參加第11屆亞太影展的馬來西亞代表團、前亞洲電視董事局主席邱德根之妻裘錦秋、國際電影懋業創辦人陸運濤夫婦、及當時擔任飛機維護人員預備赴美國受訓之施文彬父親施國華。然而，當時的政府基於政治考量，封鎖事件真相，而45年之後透過曝光的檔案裡，出現了這些被隱藏的，真相的歷史碎片:「被挖空成槍枝形狀的美國海軍雷達英文手冊」、「正駕駛臉上的小洞」、「現場拾獲的槍枝」等，被證實為一場投共的劫機案件。”
三、工作室
1.一個逐漸成形的工作室
2.碎料被拿走
3.工作室逐漸消失
蠶絲、母親手寫信紙，各30*40cm, 2019
1.以緙絲手法織岀一行看似不注意被打出的亂碼，透過緩慢的勞動過程形成一段快速產生的文字 。
2. 邀請母親在舊信紙上寫出“老死不相往來”。
《xl3n31j4vu; j;3x96,》為兩幅尺寸40x30公分的平面作品，以吳芬詩集《過程》及《新世代媒體 》為創作文本，將同樣的一串文字以兩種表現手法分別呈現，文字被記錄的方法（例如信紙、電腦、手機通訊軟體）影響著文字被理解的方式。
Silk, Mom’s hand written letter, 30*40cm each, 2019
1. With the technique of weaving I created a seemingly garbled, through the slow labour process forming a fast produced line of words. 2. Inviting my mom to write down the quote “Die without seeing you once more” on her old writing paper.
Two 40x30cm graphic works based on Taiwanese poet- Wu Fen’s two poems “Process”and “New Era Media”. Presenting a line of quote - “Die without seeing you once more” in two different methods and medium, influencing the way of seeing and understanding the meaning of words.
象形詩、老花眼鏡，30*40cm，2019
Concrete poetry, reading glasses, 30*40cm, 2019
複合媒材，尺寸依場地而定，2018
Mixed Media, Size Varied, 2018
Found Objects, Size Varied, 2017
The two stacking and balancing sculptures using objects found from my living environment. Objects as a proof of living, I want to create this intimate communication in public.
兩件堆疊平衡的雕塑，物件取自在倫敦生活周遭的環境及個人物品。物品作為生活的證據，我試圖在公共空間中與觀者建立私密的對話關係。
