日常現場The Day-to-Day
在創作上收集、撿拾，使用任何可以在日常生活中可見的物品做為材料，試著混合日常物品和生活經驗，創作物品的另一種的觀看方式，使其得到一種新的生命，並讓這種經驗回歸到生活當中，為真實生活中創作新的體驗和可被想像的空間。
In the creative process, collect and pick up, using any visible items from daily life as materials, try to blend everyday items and life experiences to create an alternative way of viewing objects, giving them a new life, and allowing this experience to return to life, creating new experiences and imaginative spaces for real life.
可麗舒｜Can Kleenex
現成物
found objects
20x120x9cm
2015
將生活的痕跡輕微壓縮，展現物品和生活感相抵觸後而被消磨掉的存在感。
Lightly compress the traces of life, revealing the existence that is worn away by the contradiction between objects and the sense of life.
髮球｜Hair Ball
頭髮
hair
300x300x300cm
2013~2018
這些頭髮就像我養的小寵物， 一個看起來澎澎、毛茸茸的假 生命體，預計每次展覽都會讓 它再成⻑一點直到跟一個房子 的高度一樣為止，製造一種隨 展覽而成⻑得擬生物狀態。
These hair strands are like small pets I raise, resembling fluffy, lifelike entities. The plan is to let them grow a little more with each exhibition until they reach the height of a house, creating a biomimetic state that evolves in tandem with the exhibitions.
日曆｜Calendar
現成物
found object
60x30cm
2016
「日曆」是早期台灣家裡常見的元素，我的祖父就有著使用日曆的習慣。對於我來說，它既是一種童年的殘影，也是在這個家中唯一長期存在卻會隨著時間而改變的物件。於是我決定割去時間的符號留下空洞的輪廓以堆積出時間的痕跡。
The 'calendar' was a common element in early Taiwanese households, and my grandfather had a habit of using calendars. For me, it is both a remnant of childhood and the only object in this home that exists long-term yet changes with time. So, I decided to remove the symbols of time and leave behind hollow contours to accumulate the traces of time.
公主｜Princess
現成物/ 視場地
found objects
dimensions variable
2009
與其說是這件用動物娃娃縫製成的公主裝，代表成⻑的殘酷氣息，更準確的說法是體現了童年幻想的現實層面。
Rather than being a princess dress sewn from animal dolls that represents a growing sense of cruelty, a more accurate description would be that it embodies the practical aspect of childhood fantasies.
塑膠袋們｜Plastic Bags
現成物
found objects
300x45x35cm
2012
「塑膠袋們 」通常以折疊收納 的方式被藏匿在家中，而對於 數量的感知只存留於想像思維 裡，希望透過創作具體化那些 想像，將無意識被淡化的生活 感可以被察覺。
Plastic bags are usually hidden in a corner of our home, so the perception of quantity only remains in the imagination. Through this work, I wanted to show an aspect of life we usually ignore—but that which, actually, reflects real life.
湯匙｜Spoons
湯匙、碗盤、魚缸
spoons, dishes, aquarium
90x53x60cm
2016
這件作品是生活中超現實場景的挪移，我在有一次洗碗的時候發現，水底的木柄湯匙就像於一樣貼附在碗盤上面，因為木頭跟鐵的浮力差異，它們既不會沉也不會浮，就是靜靜的停在水中央。
This artwork is a displacement of surreal scenes from everyday life. I discovered it while washing dishes one day, where I noticed that the wooden-handled spoon at the bottom of the sink seemed to adhere to the surface of the bowl. Due to the difference in buoyancy between wood and metal, they neither sink nor float; they simply remain quietly suspended in the middle of the water.
衣牆｜Dress Wall
現成物/視場地
found objects
Dimension Variable
2015
對我而言每日出門的裝扮就像是一堵穿在身上薄薄牆，在展出的期間其崩塌與否就
如同生活狀態一般是可預期而不可知的，隨著展出時間的推演而改變(或不改變)的有機狀態。
For me, my daily outfit is like a thin wall draped over me, and whether it collapses during the exhibition is as predictable as it is uncertain, mirroring the states of life. It changes (or doesn't change) in an organic state as the exhibition time unfolds.
洗衣石｜Clothing stone
衣服棉絮/視場地
clothing lint
dimensions variable
2012
這是從幾個季節的衣服上所遺落下的碎屑集結而成，包含著數以百計的衣服和不斷的洗滌。這些生活的碎屑用一種難以察覺的姿態遍部在四周。
This is the accumulation of debris left behind from clothes over several seasons, including hundreds of garments and continuous washing. These life remnants are scattered all around in an imperceptible manner.
菸與皂｜Cigarettes and Soap
現成物
found objects
81x104cm (x2)
2012
不論是個人或群體，抽煙和洗澡這兩個日常行為都讓人們獲得了短暫現實隔絕的時刻，對我來說，觀看藝術也是如此，於是使用香菸和香皂做為繪畫材料，使用古典畫框這種通俗的方式增加作品通俗觀感上的藝術特徵，刻意的連結藝術與日常間，將觀眾用另一種方式包圍在香菸和香皂兩種截然不同的煙霧中。
Whether for individuals or groups, both smoking and showering offer brief moments of temporary detachment from reality. For me, engaging with art serves a similar purpose. Therefore, I use cigarettes and soap as painting materials, employing the familiar format of classical frames to add a touch of artistic distinction in a conventional sense. This deliberate connection between art and everyday life envelops the audience in a unique way within the contrasting realms of cigarette smoke and soap.
菸與皂｜Cigarettes and Soap
現成物
found objects
81x104cm (x2)
2012
不論是個人或群體，抽煙和洗澡這兩個日常行為都讓人們獲得了短暫現實隔絕的時刻，對我來說，觀看藝術也是如此，於是使用香菸和香皂做為繪畫材料，使用古典畫框這種通俗的方式增加作品通俗觀感上的藝術特徵，刻意的連結藝術與日常間，將觀眾用另一種方式包圍在香菸和香皂兩種截然不同的煙霧中。
Whether for individuals or groups, both smoking and showering offer brief moments of temporary detachment from reality. For me, engaging with art serves a similar purpose. Therefore, I use cigarettes and soap as painting materials, employing the familiar format of classical frames to add a touch of artistic distinction in a conventional sense. This deliberate connection between art and everyday life envelops the audience in a unique way within the contrasting realms of cigarette smoke and soap.
圓形｜Circles
現成物、法國素描紙
found objects, ARCHES 78.6x109.1cm
2016
這件作品是透過描繪吹風機、電風扇、電池等各種物品的形狀，並將它們排列成同心圓來創作的。除了象徵這些物品是日常生活的基本組成部分外，它還旨在展示我們周圍各種看似獨特的物品實際上都是在工業規定下製造的標靶的一部分，而我們生活在其中。
This artwork is created by depicting the shapes of various items such as hairdryers, electric fans, batteries, etc., and arranging them into concentric circles. Beyond symbolizing these items as essential components of daily life, it aims to showcase that the diverse and seemingly unique objects surrounding us are, in reality, part of the targets manufactured under industrial regulations in which we live.
口紅｜Lipstick
現成物、法國水彩紙
found objects, ARCHES 78.6x109.1cm
2016
我不斷地親吻紙張，直到畫面變成紅色。這件作品是我試圖用“親吻”來反映生活中物體與我們身體的關係，並進一步通過大量堆疊的唇印來模糊對口紅的意識形態。
I repeatedly kiss the paper until the image turns red. This artwork is my attempt to use "kissing" to reflect the relationship between objects in our lives and our bodies, and further blur the ideology associated with lipstick through the extensive layering of lip imprints.
米老鼠｜Mickey
現成物/視場地
found objects
Dimension Variable
2015
色彩的使用已然成為一種可辨識的商標，使用白色的米老鼠跟其它的現成物在色彩上做為對照關系，將平面的顏色具體化，回應視覺對物品色彩上的猜想或殘留印象，是在視覺絢麗的日常裡創造某種視覺上的幻像的狀態。
The use of color has become a recognizable trademark. By contrasting the white Mickey Mouse with other ready-made objects in terms of color, it concretizes the colors in the flat imagery. This responds to the visual speculation or lingering impressions of the colors of objects and creates a state of visual illusion within the visually vibrant daily life.
物品命名計畫｜Name of Objects
拍立得、現成物/ 視場地
Polaroid, found objects
Dimension Variable
2013~
物品命名計畫-用自己的名字交換 想要的東⻄。用拍立得幫想要的 物品拍一張照片，並在上面寫下 自己的名字做為交換，就可把物 品帶走，而那個人的名字就會成 為被帶走物品的名字。
“Name of daily objects” allows people to exchange any stuff they want to take using their own name by using a polaroid take a photo it and signing their name on it. After this ceremony, the stuff will be named as someone's name.
衣架們｜ Hangers
現成物
found objects
Dimension Variable
2016
將家中總是糾纏不清的衣架帶到展場，以一種宛如曬衣服一樣清新的心情展開生活中的煩躁與糾結。
Bringing the perpetually tangled hangers from home to the exhibition, I unfold the frustrations and entanglements of life with a refreshing attitude, much like hanging out laundry.
腳踏墊｜Foot mat
現成物
found objects
20x120x9cm
2016
使用從吸塵器集塵袋中收集的塵埃和棉絮來製作一個看似柔軟但實際上不舒適的腳踏墊。我將對柔軟、清潔腳踏墊的渴望與踩在地板上時感到的灰塵和污垢的不適感縫合在一起，創造出一種心理上的衝突。
I create a seemingly soft but actually uncomfortable foot mat using dust and lint collected from a vacuum cleaner dust bag. I sew together the desire for a soft, clean foot mat and the discomfort of stepping on dirt and dust on the floor, creating a psychological conflict.
衣磚｜Clothing Bricks
現成物/視場地
found objects
Dimension Variable
2015
回應並改變現成物在真實生活的狀態，是我創作上的一個主要的脈絡，而衣磚是從衣牆沿伸出來的作品。透過每塊的衣磚我得以堆砌出一堵堵看似堅固硬挺，其實脆弱柔軟的牆，而在作品質地上依舊在軟硬之間製造一種模糊的感知。
Responding to and altering the state of pre-existing objects in real life is a major context in my creative process. 'Clothing Bricks' is an artwork that extends from the clothing wall. The clothing bricks represent how clothing, for people, may seem to create a strong and firm exterior, but in reality, it forms a fragile and soft wall. In terms of the texture of the artwork, I continue to create a blurred perception between softness and hardness.
床夢｜Bedtime Dream
現成物
found objects
210x120x80cm
2015
大學以來這個被套陪著我渡過了將近七年的外宿生活，但回到家之後，反而被存放在家中少有使用，希望利用燈光和展示上的設置將其中的時光轉化成一個介於幻象和現實之間的狀態，得以和大家分享那段或許也包含些許霉味的青春時光。
This duvet cover has accompanied me through almost seven years of living away from home since my college days. However, when I returned home, it was rarely used and stored away. I hope to use lighting and exhibition settings to transform the time it represents into a state between illusion and reality, so that I can share that period of youth with everyone, perhaps including a hint of mustiness.
ＤＭ們｜ＤＭ
現成物/視場地
found objects
Dimension Variable
2017
由生活中所收集的車票、帳單、ＤＭ、廣告等日常生活中的各式文件堆疊製成，這些訊息文件如同沈積岩般疊合專屬於個人的歷史脈絡。
Constructed from various documents collected from daily life, such as tickets, bills, direct mail, advertisements, and more, these informational documents stack up, resembling sedimentary rocks, forming an individual's unique historical context.
無聊＿心電圖/ Broed_E.K.G.
單頻道影像、現成物/ 一分鐘
MPG-4、found objects
1 min
2018
有時會不斷的點按在臉書首頁，更新的動態消息時，但其實也沒有真的想知道什麼，只是覺得無聊，而這件作品即是表現出個人在生活當中，所捕捉到的無聊的頻率。
Sometimes, I keep mindlessly refreshing my Facebook homepage, even though I don't really want to know anything specific. It's just a way to pass the time, and this artwork reflects the frequency of boredom that I capture in my life.
襪子｜Socks
現成物
found objects
21.5x11.5cm (x2)
2016
繪製與商品類似的顏色和區塊比例，擬仿襪子所顯示的圖樣，並利用現成的線條（襪子的圖形）將繪畫的邊際重新取樣，使得圖畫有兩種閱讀方式。一種是和商品相互對應的短暫錯視，而另一種則是可跳脫商品框架的新視覺，本作品試圖探討繪畫的邊際在觀看上所產生的差異性。
I draw colors and proportions similar to those of the product, attempting to mimic the patterns displayed on socks. I use existing lines (the patterns on socks) to re-sample the margins of the painting, creating two ways of interpretation for the image. One is a brief optical illusion that corresponds with the product, while the other is a new visual interpretation that transcends the boundaries of the product. This artwork aims to explore the differences in perception generated by the margins of the painting.
白日夢＿獻給爺爺的夢｜Day-Dream＿Grandfather' dream
紅絨毛、塑膠椅、水轉印、眼鏡
80.5x60x57.4cm
2021
白日夢＿獻給爺爺的夢｜Day-Dream＿Grandfather' dream
紅絨毛、塑膠椅、水轉印、眼鏡
80.5x60x57.4cm
2021
我為爺爺的椅子鋪上紅絨粉，並在爺爺的眼鏡上印製鄧麗君勞軍的影像與一段我為爺爺寫的文字，邀請觀眾坐在椅子上，看眼鏡上的文字，而過小的文字讓觀眾必須瞇著眼睛觀看。在這個機制中，觀眾的身體短暫的跟爺爺疊合。
眼鏡上的字：電視喳喳，小鳥啾啾、樹葉刷刷、機車呼呼、鄰居喔喔、爺爺哈哈。爺爺拿了一袋水果從家門口走進來說：「他們都要送東西給我，我說不要，還是硬要給」，爺爺笑著把那袋水果放在客廳的桌子上，然後再回到門口的椅子上坐著，等待下一個經過的人。
I used red velvet to sculpt my grandfather's chair and printed an image of a TV show on his glasses about a starting which is his like, along with a passage I wrote for him. I invited the audience to sit in the chair and read the text on the glasses. The small text forced the audience to squint as they read. In this mechanism, the audience briefly merged with my grandfather
Text on the glasses: The TV buzzes, birds chirp, leaves rustle, motorcycles vroom, neighbors chat, and my grandfather laughs. He walked in with a bag of fruits and said, 'They all want to give me things, I said no, but they insisted.' He smiled and placed the bag of fruits on the living room table, then returned to the chair by the door, waiting for the next passerby
天空下｜Under the Sky
攝影
Photographic
2013
這個透過天空所連結，從古典繪畫中所產生的印象，把我從當下帶回古希臘的場景裡，人神共性的時代，那些人所雕琢出來的身軀，如果這些雕像所代表的是從古希臘神話中走出來神的軀體，那巴黎就是我目前見過存在最多神身影的都市，是以理所當然的認為有著眾人景仰的羅浮宮就是巴黎的眾神殿吧！在這個牽強的想像之下，我決定將同志大遊行的影像和羅浮宮裡的景象做隨機的重覆曝光，理由難言語，有著幾個關鍵字：盛宴、慾望、人的追求、神的姿態，而最關鍵字：同性戀。
This impression, linked through the sky and derived from classical paintings, transports me from the present to the scenes of ancient Greece, an era characterized by the commonality of humans and gods. The bodies sculpted by those people seem to represent divine forms that emerged from Greek mythology. In this context, Paris appears to be the city with the most godly figures I have encountered, and it's only natural to perceive the Louvre, revered by the masses, as the pantheon of Paris. Under this somewhat far-fetched imagination, I decided to create random multiple exposures of images from the Pride Parade and scenes from the Louvre. The reasons behind this decision are hard to put into words but revolve around a few key concepts: celebration, desire, human pursuit, divine postures, and, most crucially, homosexuality.
馬路上｜On the Way
攝影
Photographic
2013
馬路上一顆破掉的雞蛋，或許這是某人的倒楣時刻，不過對我來說也是這座冰冷的城市產生出生命力的瞬間。那些存留在馬路上的生活痕跡，不需要特意的製作，即自然而然的成為建構城市的一部份殘影，城市與個人之間的故事軸線，就這樣透過這些被人們丟失或遺落的物品而因此展開。
A broken egg on the street, perhaps a moment of misfortune for someone, but for me, it's also a moment when this cold city springs to life. These traces of life left on the road don't need deliberate creation; they naturally become part of the city's lingering presence, the narrative thread between the city and individuals, all unfolded through these lost or abandoned items.
馬路上｜On the Way
攝影
Photographic
2013
馬路上一顆破掉的雞蛋，或許這是某人的倒楣時刻，不過對我來說也是這座冰冷的城市產生出生命力的瞬間。那些存留在馬路上的生活痕跡，不需要特意的製作，即自然而然的成為建構城市的一部份殘影，城市與個人之間的故事軸線，就這樣透過這些被人們丟失或遺落的物品而因此展開。
A broken egg on the street, perhaps a moment of misfortune for someone, but for me, it's also a moment when this cold city springs to life. These traces of life left on the road don't need deliberate creation; they naturally become part of the city's lingering presence, the narrative thread between the city and individuals, all unfolded through these lost or abandoned items.
彼得潘｜Peter Pan
現成物
found objects
dimensions variable
2012
馬路上那些被人們遺落下物品就像生活的影子，不刻意的留意就會消失在城市車水馬龍的角落。我撿拾那些物品後並配合物品遠本的樣貌作一個並置，就像童話故事裡的“彼得潘”一般，當兩著都在的時才是一個完整的個體。
The items left behind by people on the streets are like the shadows of life, unnoticed unless deliberately observed, and they can easily disappear in the bustling corners of the city. I pick up these items and juxtapose them with their original appearance, much like 'Peter Pan' in a fairy tale. It's only when both are together that it becomes a complete entity.
無聊＿電風扇/ Broed_electric fan
現成物/視場地
found objects
Dimension Variable
2018
我在牆上寫下了一個在網絡上找到的關於無聊時可以做的100件事的清單。這些活動可能看似平凡，但充滿創造力，因為研究顯示，無聊的人更傾向於尋求生命的意義。在思考創造力的意義時，我意識到它就像在無聊時電風扇聲音的清晰度一樣，可能缺乏具體的目的，但充滿詩意。
I wrote on the wall a list of 100 things to do when bored, which I found on the internet. These activities may seem mundane but are full of creativity, as research suggests that bored individuals are more inclined to seek the meaning of life. In contemplating the meaning of creativity, I realized that it, like the clarity of a fan's sound during moments of boredom, may lack a concrete purpose but is imbued with poetry.
流理台下｜Kitchen cabinets
攝影
Photographic
110x145cm
2012
創作出一種類真實生活的假想場景，虛擬出當瓶蓋到達空間可乘載的臨界點時的畫面，試圖透過作品喚起人們不再有意識的生活感。
A type of pseudo-reality is created to respond to the state of our lives in which objects have surpassed the limits of its container to hold it. I try to evoke a sense of life people no longer intended.