You can think of this exhibition as interesting and regretful things that happened on the way to explore the relaxation.
I started this relaxation series from a clip, which is a movie clip in my memory. The character in the play patted the person in front of him on the shoulder and said: "You should forgive yourself." Every time I think about this clip, I get emotional shock. Many times I went back to look for this movie clip, but it has disappeared.
I wonder if this is an action and sentence that I subconsciously long for most.
My creations have always been based on life experience, and I have created different characters and stories to share the narrative process. During the creative process, I have explored the nature of human beings and the close and alienated subtle connection between humans and the social environment. Trauma, insomnia, mental illness, emotions, death, and memory. Over the years, I made creations that extend the development of these keywords. It is like using painting to let off steam and block the possible genetic factors of bipolar disorder. I thought I regulated them well, indeed, I was trapped in a deep sense of guilt. I have always regretted not being able to catch my family member who were corroded by these keywords, and at the same time, I should avoid that I become the next one who is also corroded.
It is so stressful to remind yourself to relax all the time in your life.
你可以把這個展覽看成在探索放鬆的路上發生的趣事和憾事。
會開始這個放鬆系列起源於一個片段，那是一個我記憶中的電影片段，劇中的人物在已暗燈的電影院座位上，從後方拍了拍前方人物的肩膀說：「妳應該要原諒妳自己了。」我每次想起這個片段情緒都很衝擊，好多次我再回去電影裡頭尋找這個片段，它卻消失了。
我在想這會不會是我潛意識裡最渴望得到的一個動作跟一句話。
一直以來我的創作多以生命經驗出發，並創造不同的角色和故事共寫敘事歷程，在創作過程中探討人的本質以及人與社會環境之間疏離又緊密的微妙牽連。創傷、失眠、精神疾病、情緒、死亡、記憶，這些年我做了這些關鍵字延伸發展的創作，就像用創作宣洩，讓自己阻斷躁鬱症可能的遺傳因素。我還以為我把它們消化得很好了，殊不知我一直都被深深的內疚感困在其中。我一直都很懊悔沒能接住被這些關鍵字侵蝕的家人，同時又要時刻小心自己也成為那個被侵蝕的人。
在生活中時刻提醒自己要放鬆是一件壓力很大的事情。
我意識到在上述關鍵字串的時間軸上是時候加入放鬆了。創作初期我整理了過往曾經嘗試過的放鬆方法，分別是：催眠、冥想、瑜珈、靈氣、呼吸、頌缽。我在操作這些放鬆方法的過程中有一個共通點，就是用圖像連結潛意識再帶出後續的感官體驗以釋放內在壓力。比如說我在嘗試催眠的時候，最能夠進入狀態的方式就是想像畫面，冥想時則會在腦中開始畫畫。這過程像歷史中對繪畫的原始需求，我的大腦將這些放鬆方法視覺化以便交流溝通訊息。這系列的呈現就是將這個過程轉化到畫面中，透過繪畫創造深刻挖掘自我時那種舒服安定的觸感，可視的影像能否創造視覺以外的感受，是我這次創作所欲探究的核心。
I want to describe to you the picture I am painting. The communication of the world is changing. We live every day just to share the endless time, and because of this, we begin to rely on using memory to achieve our own sense of existence.
I started to think about the topic of memory and existence, starting with my grandmother suffering from Alzheimer's disease. The confusion of thoughts and memories kept my grandmother quiet for most of the time. In an afternoon she sit on the chair and I painted as I accompanied her. That reminded me of the one I started painting when I was a child. My grandmother also silently looked at me like this. At that time, painting was not for any achievement or interest, but for a sense of existence. Grandma always prepared a stack of notepaper let me paint, no matter wherever she took me. If I painted a house during that time, I would keep drawing dozens of identical houses every day. It's just to let my grandmother look at me beside me so that I can achieve my sense of existence. But when I grew up, until my grandmother left, I didn't know how to give this memory back to her. Although my grandmother has done a lot about the prevention and treatment of Alzheimer ’s disease, afraid of losing her life ’s self-care ability and awareness of the surrounding environment, but in fact, as family members, the subconscious fear that we are avoided was: we will disappeared from grandmother's memory, and then forever lost an irreplaceable sense of existence.
I realized that the sense of existence that human beings have pursued throughout their lives is derived from memory. Whether it is personal emotional memory or historical memory of the environment, they will have different degrees of variation due to the needs of existence, and this variation is purposeful, in order not to disappear in a person or a group.
This makes me feel like challenging to record every moment of longing for existence by painting, and transform or even strengthen its purpose through vision. There are ways for humans to prove themselves, and there are ways to learn from animals and plants to prove their existence. This painting process may beautify the painful memory and let us learn to forgive ourselves; or It is to reduce the excitement and incitement in the beautiful memory to prevent the sudden destruction. All these efforts are to always remind ourselves to stay normal and to maintain the most legitimate appearance in this world, because it will be a collective memory belonging to the present. No one expected that "back to normal" has become the common belief of all mankind.
「我想把我正在畫的這張畫，形容給你聽」。世界的傳播在改變，我們每天過日子，就是為了分享綿延不絕的時間，也因為這樣，我們開始依賴用記憶達成自己的存在感。
開始想做關於記憶與存在感的主題，是從外婆患有阿茲海默症開始，思緒與記憶的混亂讓外婆多半時間都是沈默寡言的。一天下午她坐在椅子上，我在旁邊隨性的畫著畫邊陪陪她，想起小時候最一開始畫畫的自己，外婆也是像這樣在旁邊默默看著我畫。當時畫畫不是因爲什麼成就或興趣，而是畫一份存在感。外婆會準備一疊便條紙，不管把我帶去哪裡，就會放著讓我畫，如果那段時間我畫房子，我就會每天都一直不停地畫好幾十個完全一模一樣的房子，就是為了能讓外婆在旁邊看著我，好達成自己的存在感。但是長大後的我，直到外婆離開了，都不知道該怎麼將這份記憶回饋給她。雖然外婆做了很多關於阿茲海默症的預防跟治療，怕失去生活自理能力，怕失去對周遭環境的認知，但其實身為家人的我們，下意識在逃避的恐懼是：哪一天我們會從外婆的記憶裡消失，然後永遠失去一種無可取代的存在感。
我才意識到，原來人類終其一生在追求的存在感都是從記憶而來，不論是個人的情感記憶還是大環境的歷史記憶，它們都會因為存在感的需求產生不同程度的變異，而這種變異是有目的性的，就是為了不讓自己消失在某個人或某個群體之中。
這讓我想挑戰用繪畫形式將每個渴求存在感的片刻記錄下來，並藉由視覺去轉化甚至加強它的目的，這其中有屬於人類證明自己的方式，也有向動物與植物學習證明自己存在的方式。在這繪畫過程，它也許是美化了痛苦的記憶讓我們學會原諒自己；或是削減了美好記憶裡的過激與興奮，以防面對突如其來的破滅。這一切努力，都是為了時刻提醒自己保持正常，保持存在在這世界上最正當的樣子，因為它將是一段屬於當下的集體記憶，誰都不曾想到，“回到正常”成了現在全人類的共同信仰。
I began the series of new works in the exhibition “Side Wall” since 2015, while I was Artist-In-Residence at RUD AIR in Sweden, located in a small town called Bengtsfors in Dalsland province, southwest of Sweden. The town is surrounded by forests and local residents are extremely respectful of the natural environment. They know how to live in harmony with nature, in life and in death. It is as if the residents have signed a contract with nature; living off its resources that the forest charitably gives. Day after day year after year, life in Sweden becomes a precise calculation, as if confined to a cell, causing us to think over and over on the sin of being human, a sin as dark as the forest at midnight, a sin that is violence.
I fabricated the memoirs which is about a slayer who lives secluded in the forest, and al though he spends most of his life carrying out violence for other people’s purposes, he can look at violence with no self-consciousness. When I started planning the series, I felt like I was writing the slayer’s memoirs, I stood in his position and disbursed different elements of violence into the forest, portrayed in each painting. If all of his memories of violence are vertical lines, then the forest and the law of nature are horizontal lines, intersecting and obscuring each other; this is a true depiction of the violence of the present.
It was a refugee from Afghanistan who told me stories that led me to think of the form of violence. He had spent three years immigrating to the small town. After shedding his identity as a refugee he became a security guard at the only train station that connects the town to other areas. He keeps asking everyone the same question, “do you think humans are inherently good or bad?” I wasn’t able to answer his question before leaving the town. After I left, Europe was under the threat of terrorist attack again. On my return, Øresundsbron, the bridge that once symbolized tolerance, introduced strict border control, which showed that the Swedish government’s policy on refugees had failed. Nobody wants to think about the goodness and violence in humanity. It led me to research the details of violent events and consider what consists of the human spirit and human behavior. I depicted these discoveries of violence into the imagery of natural scenes, using areas of repetition and overlay, anticipating that the coagulation of nature and violence in “Side Wall” can provide enough time and sense of security to bury our violence and be reborn again for ourselves.
－用自然與暴力混凝
此系列作品是我從2015年在瑞典RUD AIR駐村期間開始發想與進行至今的創作，我將之命名為“邊牆”想探討的主題是關於暴力。此次駐村單位是在瑞典西南方Dalsland省一名為Bengtsfors的森林小鎮，鎮上的人很尊重自然跟時間，也懂得怎麼跟它們相處，跟著自然一起生一起死，人類就像是與自然做了協定，使用它們施捨的資源一季復一季地活著，但顯然這種生活方式是有難度的，極少的人口讓這座小鎮看起來像是被全世界遺忘了，這讓我感覺在瑞典的每一天都像是生活在一種計算的方式中，向自己提問：人類有多少力量能轉化成樹木與石頭，沒有便只能乞求，那種卑微彷彿是在禁閉室省思著身而為人的罪惡，像夜晚的森林這麼深的罪惡，那就是暴力了。
所以在創作最初我杜撰了一個角色，他是一位隱居在森林裡的屠殺者，雖然他一輩子都在為別人的目的而執行暴力，但他也同時是一個沒有任何自我意識所以能夠完全旁觀暴力的人。開始規劃每件作品便像是撰寫他的回憶錄似的，藉由他的立場將人類各種面向的暴力元素帶入這片森林，呈現在每個畫面上。假如他一切關於暴力的記憶是縱線，那代表大自然永恆定律真理的森林就是橫線，兩者交錯下彼此會慢慢被遮掩被模糊化，但那才是最真實屬於當下這個時代的暴力。
讓我思索到此暴力形式的人是一位來自阿富汗的難民，他花了三年時間移居到我所駐村的小鎮，除去難民的身份在鎮上唯一對外交通聯繫的火車站當守衛員，逢人就問“你覺得人類是好人還是壞人”？在我離開小鎮之後還沒來得及回答這個問題，歐洲就再次遭遇了巴黎的恐怖攻擊事件，回到鎮上的那天，象徵包容的厄勒海峽大橋（Øresundsbron）重啟了嚴格的邊境管制，瑞典政府收容難民的政策已失去平衡，人性間的暴力與善良成為大家逃避思索的問題，非地域性而是全人類都同時面臨的問題，這促使我開始研究暴力事件與其所對應的人類精神本質與行為，將它們轉換為視覺圖像後全然投入自然場景中尋求庇護。在繪畫形式上我也希望能夠呈現出這樣的遮掩與模糊，當我提及暴力時我讓它像故事軸線一樣清楚呈現每個元素，當我用自然去破除它時我用了大面積的重複與覆蓋。讓繪畫跟著我的心志一起進行一場暴力的演繹，期許這道用自然與暴力混凝的“邊牆”讓人類有足夠時間與安全感把暴力掩蓋起來，為自己重生。
Paintings featured in All Happy Returns are all revolved around a character created by me – a taxidermist who is insentient to emotions, and thus different from most of the people, he has no way to attain any sense of belonging through love, the relationship with others and society.
One solution to his cogitation is to physically embody these emotions and abstract relationships. He starts garnering chunks and pieces about human beings and bringing them together with redefined objects from himself into a collage of human gestures nuancing variegated emotions ratified by generic cognition. By displaying all this in front of himself, the taxidermist self-imposes an era of re-education regarding human nature.
My subject matter has always been focusing on human behaviors and mental states. My observed persons are the exact reflection of our existence in society. Every behavior comes about for the sake of “Someone” ‘s existence. I transform this mode of life into varied elements and superimpose them on my created character. The scene in my works is taken from some everyday fragments through the process of exaggeration, while the collaged elements in the scene are taken from fragmented memories that once ran past our mind. Marrying the two parts sparks a distance that is both proximate to reality and yet inscrutable to common sense. I hope that my spectators, while standing in front of these much gravitated elements, would be struck instantly by a covert comfort through re-experiencing experienced moments; meanwhile, they would also feel constantly anxious about being surveilled. This is the totalitarian power from any civilized society – those who fall outside the default system failing to integrate into the set rhythm only feel overwrought; in the meantime, the violence of civilization sequesters anyone who fails to be incorporated outside reality as pariahs. We are, inconspicuously and collectively, sunk into an enormous lethargy because of our inveterate penchant for acting out our instrumentality to complete our society and for forgetting the quintessence of being itself.
此計劃一開始我先設定了一個角色－一位標本製作師。他無法體會到任何情緒，以至於無法像一般人一樣在日常生活中透過愛、透過與他人及社會的關係得到歸屬感。
在他的思考裡唯一的解決之道便是將這些情緒、這些抽象的關係具體實現，所以他開始蒐集人類的碎片，並將其與自己所定義過後的物件拼湊成常人認知中代表著各種情緒的姿態，然後一一將這一切呈現在自己的面前，對自己進行一場關於人性的再教育。
我創作的題材一直以來著重在人的行為與精神狀態，而這些被觀察的對象其實就是我們生存在這社會上的現狀，所有的行為都是為了證明“人”的存在。所以我將這樣的模式轉換成一個個元素並套用在我所創造出的人物身上。畫面的場景來自於異常放大過後的日常生活片段，畫面中拼湊的元素則來自於可能曾出現在所有人腦海間的瑣碎記憶，兩者的結合將會呈現出離現實不遠但卻不是基於常理可了解的差距，我期望讓觀者在這些龐大的元素中與自己曾發生的共同經驗相遇，當下會感到藏匿的安心，同時也會意識到分秒都被監視著的焦慮。文明社會場所就是具有這麼專制的力量，使融不進節拍裡的人在秩序下不知所措，同時也在操作著文明的暴力將不融於現實的人隔離在現實的環境外，就好像我們不知不覺間都陷入了一種集體巨大的疲憊中，因為我們一直習慣於去扮演一個讓這社會更加完整的工具而忘記身而為人的本質。
Dr. Sleep's Fatigue and Hope
My creations have always used different methods to shape the world we live in. This time I chose to borrow Dr. Sleep’s position to tell stories related to this social environment through the theme of sleep disorders. I will The work is set as a bedside story that happened on the canvas. The ideas for these stories evolved through many sleep rituals (personal habits developed over a long period of time before going to bed to help fall asleep).
"I never listen to you, so now I have to listen to the sound of many people talking to sleep."
This is my own sleep ritual and the beginning of this series.
"I never listen to you, so now I have to listen to the sound of many people talking to sleep."
This is my own sleep ritual and the beginning of this series.
I am an action maniac. I am different from a workaholic because of my lack of efficiency. I often feel satisfied and give up sleep because of the constant repetition and repetition of painting actions. But you are different. You often tell me that you are a big dreamer with nothing to do in the middle of the night. There are so many things I want to do but don’t know where to start.This is the limit of what I can talk to you, and then I will reply to you without thinking, "Then do it." Because of this, I have always taken it for granted that your insomnia is because you have not expended any physical energy at all, so you can't sleep. At that time, I didn’t know that severe sleep disorders would make it impossible to adjust and reorganize one’s emotions, behavior, and cognitive memory. I also didn’t know that there were so many voices and signals in your head that couldn’t be turned off. What’s even scarier? The speed at which sleep disorders accumulate is like racing with a tortoise. You think you will always surpass him, but in fact, there is no moment when you meet. You are anxious that you can't find the end point and can't return to the starting point, so you can only use drugs to continue. The forced end of every day.
It took several years after that for me to realize that "insomnia" should be a descriptive symptom rather than a diagnosis. It is not a disease. It just tells a story about the outside world, just like the many things in the picture that cannot be turned off. Sensory signals: the sound of water dripping in the bathroom, the sound of stones hitting each other caused by turning on the gas stove, the rumble of the air conditioner, the aroma of bread, and the sounds that may be made by all movements, etc... These are the inorganic sounds that constitute daily life, Information and images can make you feel the events happening around you delicately, and you can also feel every movement of others. However, you are anxious that you cannot remember their faces, and then you will realize that you are also completely unaware of them. be seen, at night, I will endlessly count how many people I will pass by tomorrow. These sensory signals that I don’t stop to watch or listen to will become fragments that I can’t recall anything in the next second. But maybe there's an opportunity in these episodes where you can twist it around and change it. Therefore, I made up the character of Dr. Sleep to hide myself in. I can't diagnose it for you, but I can find a suitable sleep ritual for you to turn off all this.
I think we all need a Dr. Sleep shell. Hide inside to listen, watch and tell you that there may be people with the same difficulties around you. Using bedside stories is like a hypnotic state, with the sweetest gesture. Occupying a part of his heart, Doctor Sleep and Sleep Ritual must exist in everyone's heart at the same time to be established. In other words, they are already in each of our hearts, but we often lose the courage to try to communicate. Over time, it becomes a huge fatigue, and this fatigue happens to be an experience shared by everyone in society. Civilized society has this authoritarian power to fill our hearts with this twisted sense of security.Our society is constructed with such weak connections. From the smallest individual psychological state, it extends in a concentric circle to the relationship between people, and then to the position of the society and the country, all in an almost infinitely magnified manner. The image reappears in everyone's heart. Maybe there is no outlet. Maybe you will feel that it is getting harder and harder to tell the story of this world to have a happy ending.
But I believe everything will be different if you try to face them.
睡眠博士的疲憊與希望
一直以來的創作都以不同的方式去塑造出我們所生存的世界，這次選擇借用 Dr. Sleep 睡眠博士的立場透過睡眠障礙的主題說出跟這個社會環境有關的故事， 我將這次的作品畫面設定為一段段發生在畫布上的床邊故事，這些故事的發想則是透過許多的睡眠儀式（長時間養成在睡前幫助入眠的個人習慣）演變而來。
「我從來都不聽你講話，所以現在我得靠聽許多人講話的聲音才睡的著。」
這是我自己的睡眠儀式也是我做這個系列的開端。
我是個動作狂，跟工作狂不一樣因為欠缺效率，我常常因為不斷重複與重來的繪畫動作感到滿足並放棄睡眠，而你不一樣，你常常半夜無所事事地跟我說你是大夢想家，有好多想做的事情但不知從何開始。這是我能與你對話的極限，然後我就會不經過大腦地回你“那就去做啊”，也因為如此，你的失眠症我一直理所當然地覺得是你根本沒有消耗體力所以睡不著，那時後的我不知道嚴重的睡眠障礙會讓人無法調整和重組人的情緒行為跟認知記憶， 也不知道原來你腦袋裡有這麼多關不掉的聲音跟訊號，更可怕的是睡眠障礙累積的速度就像是與烏龜賽跑，你以為會永遠超越他了，但其實你們根本沒有錯身交會的一瞬間，你焦慮於找不到終點也回不了起點，只能用藥物進行每一天的強制結束。
在那之後的好幾年我才認知到“失眠症”應該要是敘述性的症狀而不是診斷，它不是病，它只是說了一個關於外在的故事，就好像畫面中那許多關不掉的感官訊號：浴室裡水滴的聲音、扭開瓦斯爐造成的石頭相擊的聲音、空調運轉的轟隆聲、麵包的香氣、以及所有動作可能發出的聲響等等…這些構成日常生活的無機質聲音、資訊和影像，都能令細膩的你感覺到身旁發生的事件，也能感覺到旁人的每一個動作，但你卻焦慮於記不得他們的臉，然後就會意識到自己也是那樣全然地不被看見，到了夜晚便會無止盡地細數明天自己又會從多少人身邊經過呢，這些不停下來注視或聆聽的感官訊號，就會變成在下一秒就再也什麼都回想不起來的片斷，但也許在這些片斷裡會有這麼一個你可以扭轉它並且改變它的機會。 睡眠博士的角色因此被我虛構出來將自己躲藏進去，我沒辦法替你診斷但可以替你找到適合的睡眠儀式來關掉這一切。
我想我們都需要一個睡眠博士的外殼，躲在裡面去聽聽看去告訴你身邊也許也有同樣困難的人，用床邊故事的方式就像是一種類似催眠的狀態，以最甜蜜的姿態佔據他心裡面的一部份位置，睡眠博士與睡眠儀式它們必須同時存在於每個人的心裡面才得以成立，或是說它們早已在我們每個人的心中，只是我們常常失去嘗試溝通的勇氣，久而久之便成了一種巨大的疲憊，而這個疲憊也正好是社會上所有人共同擁有的經驗，而文明社會就是具有這種專制的力量，將這種扭曲的安全感填入我們的內心。 我們的社會就是以這樣微弱的連結建構出來的，從最小的個人心裡狀態，以同心圓的方式延伸到人與人之間的關係，再到社會國家的立場，都幾乎以一種無限放大的形象再現在每個人的心中，也許沒有出口，也許你會覺得怎麼這個世界的故事越來越難講到幸福快樂的結局。
但我相信試著去面對他們一切都會不一樣的。
“Everything you eat means something.”
The story began with an incident. It was about a body found in a house. Not a single grain of rice was found in the deceased’s stomach; and no signs of struggle of any kind were discovered as well. The ambience of the room was more or less delightful with a slight hint of decay. Among the few things she left behind was a notebook filled with recipes she had recorded as well as all the food she had eaten in her life and the memories related to those dishes. From the self-explanatory flounder, to the cup cakes that thawed a tough front, to the worry-resolving delicacy that was the sizzling teppanyaki, to the reliable sets of steaks enjoyed in silence, through an intricate analysis of the tongue, these daily dishes seemed to epitomize some bewildering social phenomenon, creating a sense of hunger, fear, and happiness. On the last page of the notebook, the entry explained that she chose to refrain from eating anything until her death. It was neither because of a religious fasting nor an extreme, self-inflicted behavior; it was because she felt certain and decided that the amazing nutrients of the food were no longer needed.
This work centers on “food” and develops a series of observations on our society. It focuses on the relationships between individuals as well as those of between individuals and the society. It further analyzes them in terms of the theme, “food,” gathers and transforms them into plots of gourmet dramas. “Everything you eat means something.” Human being’s diet is an accumulation of vast experiences, ranging from the mere need to stop hunger to a manifestation of pursuing a better life, from the exquisite art of dining to the down-to-earth clangor of knives and spatulas, and making choices to get different daily meat, vegetable and fruit. These images, whether about people or food, hopefully convey a message—because human being could not survive without food, we might as well sincerely face what is inevitably happening around us. At such a moment, as if revealing human being’s every desire, our diet honestly represents the current state of our society.
Another reason that this work centers on food is because of the associations that have been imposed on the images of food. In addition to being interpreted physically, food has always been associated with the senses of taste and smell. As time changes, people have formed strong attachments to certain food. Besides the fact that some food requires specific culinary techniques, dining has become a vital means to bond with people because it is rather simple to interpret the world through food. It could be easily associated with various characters, classes, and circumstances. Nevertheless, it is also quite often that once a type of food is thus associated, it becomes more complicated like the human heart. It might hide behind a certain degree of ambiguity, or it might not live up to its name. It could go bad easily, or it could be pickled for longer preservation. Sometimes, people even prefer the fermented.
It is exactly among these familiar, unsurprising incidents and accidents, the most common yet profound emotions are camouflaged and observed. I have always been hoping to express this kind of established connection through paintings because these invisible scenes are usually the most truthful concealed in the reality.
當時無意間看到的一則發生在台灣的社會新聞，一則短暫且無後續的社會新聞，那個事件是關於在屋內發現的一具女屍，警方發現她的時候她胃裡連一粒米都沒有，那則新聞就到此結束，然後一條生命也這樣悄悄消失了。每天在社會新聞裡來來去去的生命很多，但那天不知為何她雖然消失了卻同時踏踏實實地的走進了我腦海裡，我開始想人們會猜測她是被虐待，但為什麼人類會虐待另一個人類呢？人們也會猜測是食物的缺乏，那又是怎麼樣的社會環境至今仍無法解決這樣的糧食問題呢？2012的今天世界各地仍然有人會餓死，人跟人之間仍然有互相殘殺的可能性，雖然隨著社會發展我們討論的議題也會理所當然地不同，這是一種世界秩序，每種類型的問題都會存在於各個地方，但就當人們在討論環境、經濟和權力的時後習慣性的去幻想更高遠的層次卻乎略了生而為人這件事，總有一天我們會是因為對人性的匱乏而餓死的。
這樣的狀態就像飲食，就像我在論述中寫道的。「每放進嘴裡的任何一樣東西都有意義」—飲食這件事從為了存活、填飽飢餓到追求美好生活的想像，都背負著人類所積累的龐大經驗，回歸到生而為人這件事，既然人類不進食便無法生活下去，那不如就這麼一次認真地面對發生在我們周遭不得不去在乎的事。
所以我決定借用這個社會事件主角的人生去說一段關於人跟這個社會環境的故事，於是我把她的角色設定為一位美食家，但在她死的時候卻發現她胃裡連一粒米都沒有，屋內的擺設暗示了她的身份以及一本在她身旁的手札，這本手札紀錄了她一生中吃下的食物以及關於食物的記憶，那是一道道經由舌頭進行精密分析的日常料理 ，不斷創造飢餓感、恐懼和幸福，彷彿述說著一個個令人匪夷所思的人類行為與社會現象。手札最後一頁寫下的是她選擇了再也不吃下任何的東西直至死亡，不是為了任何自殘的偏激行為，而是心裡十分篤定且真實地離開了那些食物所提供的奇異養分而已。對一個美食家來說，離開她這一生中最愛的東西，那是一種不可能的決定，這種所謂的不可能的決定，雖然很負面但卻又很老實地反映了現實。
1987年出生於台灣屏東，目前工作生活於台北，用繪畫持續記錄我所關注的社會議題，過去曾以創傷、失眠、精神疾病、情緒、死亡、記憶這些關鍵字延伸創造不同的角色和故事共寫敘事歷程，在創作過程中探討人的本質以及人與社會環境之間疏離又緊密的微妙牽連。
2024 Relaxing On the Spot － Project Fulfill Arts Space Taipei
2021 The Flare Always Gets Its Way － Project Fulfill Arts Space Taipei
2017 Side Wall － Project Fulfill Arts Space Taipei
2015 All Happy Returns － Gallery EXIT Hong Kong
Artist Residency
2015 RUD Artist In Residency － Sweden
2014 ISCP ( International Studio and Curatorail Program ) － New York
Associated exhibition
2020 White Darkness －Space K Gyeonggi-do Korea
2020 Subzoology : 2020 Taiwan Biennial － National Taiwan Museum of Fine Arts
2018《Dream Makers》Riverbed Theatre’s 20th Anniversary － Eslite Gallery Taipei
2017 Mystery Cases in Contemporary Art 《And Now There Are All》─ Kaohsiung Museum of Fine Arts
個展
2024就地放鬆 – 就在藝術空間 台北
2021得逞的火光 – 就在藝術空間 台北
2017邊牆 – 就在藝術空間 台北
2015所有快樂都會回來 – 安全口畫廊 香港
駐村經歷
2015 RUD Artist In Residency －Sweden
2014 ISCP ( International Studio and Curatorail Program ) New York
聯展
2020White Darkness－Space K 京畿道 韓國
2020禽獸不如–台灣美術雙年展－國立台灣美術館
2018造夢者．潛意識劇場—河床劇團20年－誠品畫廊 台北
2017當代藝術中的推理事件《一個都不放過》－高雄市立美術館