Painting is often used as a medium for viewers to put their consciousness into it, thereby reflect meaning and imagination. But now, the visual images we are exposed to have loaded with many shadows and their relationship with viewers are not “personal spiritual interpretation” any more, but more like facing a collection of mass consciousness.

In daily images, human’s acts and postures are regularly limited within common forms. What we stare at is a collection of image elements, not the content. There is no humanistic point of view from the perspective of the void, and what we confront is no longer the stage language that captures graceful bearing but interface packages, such as scenery of people, posture and configuration.

Even when I came to Hualien and approached the sea, some images were still attached but without any direct relationship with the world I stayed. I also put myself to such layout. People use image configuration to describe the relationship between them and the scenery, and I also sketched from nature at a distance as if I haven’t participated in it.