如是存在 Being as It Is
水墨設色絹本、挎貝台、床單、儲物箱、光管
Ink and Colour on Silk, Light Table, Bed Sheets, Storage Box, Fluorescent Tube
尺寸可變 Size Variable
私人收藏 Private Collection
如是存在局部I
如是存在局部II
如是存在局部III
理性的鄉愁
The Nostalgia of rationality
水墨設色紙本
Ink and color on
Chinese paper
96 x 105 cm
我認為睡覺是死亡以外，人最靜止的狀態。把人存在的事實如其所是地呈現能夠把創作動機和詮釋意義進一步刪減。我以「薛西弗斯式」的方法在畫紙上一筆一劃複製紙的紋理，讓宣紙回到紙為物本身，藉此表達「沒有意義就是一種意義」的想法。
Smith I
水墨設色絹本
Ink and color on Silk
70 x 60 cm
私人收藏 Private Collection
Smith II
水墨設色絹木、木方
Ink and color on Silk, wood
70 x 210cm
私人收藏 private collection
只為綻放而綻放 White Camellia
水墨設色紙本
Ink and Color on Chinese paper
50 x 68 cm
Jones and Smith
水墨設色紙本
Ink and Color on Chinese paper
56 x 66.5 cm
私人收藏 private collection
乾隆《晴碧亭憶舊》
Qianlong "Recollect the Past in Qingbi Pavilion"
水墨紙本 Ink on Chinese Paper
一組兩件 A set of 2
138 × 69 cm
書法為物 I
Thingly Character of Calligraphy I
水墨紙本 Ink on Chinese Paper
一組兩件 A set of 2
138 × 69 cm
我臨摹的蘆山草堂記雖有其字形，但終究不只是白居易的文和鄧石如的字，而是來回往復於兩者之間，表現一個認知世界的過程。
My copy of “The Note of Lushan Cottage” is not only the text of Bai Juyi and work of Calligraphy by Deng Shiru but the process of recognizing the content of the text and the feeling of writing by ancients, and the transformation of my present practice.
款式：世界或在作品當中，關於臨摹書法的思考。
Inscriptions: There may be infinite possibilities in the artworks, this time about my thinking of copying the calligraphy works