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林中路 雙頻道錄影裝置 / 手繪 , 裝置尺寸依場地大小而定，6分28秒循環播放，2016
台北市立美術館 典藏
Off the beaten track, Two channel video installation and hand drawing, 6’28”loop, 2016
Taipei Fine Arts Museum Collection, Taiwan
一千兩百年前，王維寫下了〈鹿柴〉這首詩，去年，當我的思緒游移在某種關於光影的可能形式，這首詩就如同一道悠緩的返光，投影在我的腦中。我拿起毛筆，寫下「返景入深林」五個字，貼在我工作桌的正前方，這條林中路出現了足跡，得以領我一陣，這是經典的力量。
我開始有了一個模糊（視覺上）而清楚（意念上）的方向感，是關於返景入深林/ Morandi /古詩/墨色/光影/內外空間/影像特性等等綜合的事物。隨著工作的進展，那意念會慢慢帶領著視覺也逐漸聚焦起來，最後又由視覺照亮了意念的輪廓。
在繪畫的研究中，我同時思考著影像的問題，因為對我來說，影像這個媒材經過十多年的練習已經成為我思考的一種語言。影像的運動以及對光及空間的表現性，在我的工作中，一直是很重要的筆觸。用筆觸來形容，也就幾乎說明了這件作品的表現方式，影像的運動/影像的光度/影像的空間，這三項元素，我皆當成某種「筆觸」與「構圖」在使用，這是我對繪畫及影像的理解，而這種理解是為了呈現一種風景。
Twelve hundred years ago, Wang Wei wrote the poem "鹿柴 (Deer Enclosure). " Last year, when my thoughts were wandering through various possibilities of light and shadow, this poem emerged like a gentle reflection and projected itself onto my mind. I picked up a brush and wrote down the five characters "返景入深林" (Light slips deep in the forest,) and placed them right in front of my work desk. This forest path appeared with footprints, leading me on a journey. This is the power of classics.
I began to have a vague (visually) yet clear (conceptually) sense of direction, involving ideas about "returning light enters the deep forest," Morandi, Chinese poetry, ink, light and shadow, inner and outer spaces, and the characteristics of images, among other things. As the work progressed, these ideas slowly guided my visual focus, and in the end, my vision illuminated the contours of these concepts.
In my study of painting, I also contemplate the issues of image. For me, image, as a medium, has become a language after more than a decade of practice. The movement of images and their expressiveness regarding light and space have always been crucial "brushwork" of my work. To describe it in terms of brushwork almost explains the way this piece is presented. The movement of images, the luminance of images, and the space in images, these three elements, I treat as a kind of "brushwork" and "composition." This is my understanding of painting and image, and this understanding is aimed at presenting a certain landscape.
林中路 雙頻道錄影裝置 / 手繪 , 裝置尺寸依場地大小而定，6分28秒循環播放，2016
台北市立美術館 典藏
Off the beaten track, Two channel video installation and hand drawing, 6’28”loop, 2016
Taipei Fine Arts Museum Collection, Taiwan
一千兩百年前，王維寫下了〈鹿柴〉這首詩，去年，當我的思緒游移在某種關於光影的可能形式，這首詩就如同一道悠緩的返光，投影在我的腦中。我拿起毛筆，寫下「返景入深林」五個字，貼在我工作桌的正前方，這條林中路出現了足跡，得以領我一陣，這是經典的力量。
我開始有了一個模糊（視覺上）而清楚（意念上）的方向感，是關於返景入深林/ Morandi /古詩/墨色/光影/內外空間/影像特性等等綜合的事物。隨著工作的進展，那意念會慢慢帶領著視覺也逐漸聚焦起來，最後又由視覺照亮了意念的輪廓。
在繪畫的研究中，我同時思考著影像的問題，因為對我來說，影像這個媒材經過十多年的練習已經成為我思考的一種語言。影像的運動以及對光及空間的表現性，在我的工作中，一直是很重要的筆觸。用筆觸來形容，也就幾乎說明了這件作品的表現方式，影像的運動/影像的光度/影像的空間，這三項元素，我皆當成某種「筆觸」與「構圖」在使用，這是我對繪畫及影像的理解，而這種理解是為了呈現一種風景。
Twelve hundred years ago, Wang Wei wrote the poem "鹿柴 (Deer Enclosure). " Last year, when my thoughts were wandering through various possibilities of light and shadow, this poem emerged like a gentle reflection and projected itself onto my mind. I picked up a brush and wrote down the five characters "返景入深林" (Light slips deep in the forest,) and placed them right in front of my work desk. This forest path appeared with footprints, leading me on a journey. This is the power of classics.
I began to have a vague (visually) yet clear (conceptually) sense of direction, involving ideas about "returning light enters the deep forest," Morandi, Chinese poetry, ink, light and shadow, inner and outer spaces, and the characteristics of images, among other things. As the work progressed, these ideas slowly guided my visual focus, and in the end, my vision illuminated the contours of these concepts.
In my study of painting, I also contemplate the issues of image. For me, image, as a medium, has become a language after more than a decade of practice. The movement of images and their expressiveness regarding light and space have always been crucial "brushwork" of my work. To describe it in terms of brushwork almost explains the way this piece is presented. The movement of images, the luminance of images, and the space in images, these three elements, I treat as a kind of "brushwork" and "composition." This is my understanding of painting and image, and this understanding is aimed at presenting a certain landscape.