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Paintings are usually seen as a medium that allows viewers to invest their consciousness in it, reflecting meaning and imagination. However, the visual images we encounter now carry the shadows of many other images. The relationship between the painter and the viewer is no longer a "personal and unique spiritual interpretation," but more like facing the collective consciousness of the public.

In my paintings, the 'image' becomes an 'entrance'. However, beneath the surface of personal imagery, privacy has become difficult to experience and the image has become a kind of 'object' that loses self-expression. As a result, the difference between 'private' and 'public' has gradually blurred in the inertia of contemporary images.


In the era of social media, digital images occupy a significant part of our viewing experience. While the captured moments may seem random, they might have been arranged in numerous ways. Most of the time, these images become a composite of units and elements, rather than cogitation and context.

During the process of painting, I, the painter, am completely detached from the object being depicted. But through the language inherent in the act of painting and the physical process of using my hands and brushstrokes, the content materializes simultaneously with the brushstrokes, while remaining consistent with the materiality of the painting.

In my paintings, through the use of large areas of blank space as a fictional boundary, it exists simultaneously within and outside of the fiction, physically revealing the texture of the canvas while also serving as the shadow of the act of painting.

The thinking about painting extends to the overall presentation of the exhib
ition, tending to create a differential space-time rather than the spiritual expression of the painter.




而畫布便是場景發生之地,顏料和筆觸所營造的感覺便是發生之事,這可能是繪畫和觀看上所能相互企及,仍然存在著和諧的關係。 面對空白的畫布,和它的關係總是充滿一種不確定,和畫布的關係仍懸置在一個現實和虛擬草圖的想像界線上。 















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