創作自述：

​

這系列作品針對台灣特有種的藥用植物-桃實百日青(Podocarpus nakaii Hayata)、阿里山十大功勞(Mahonia oiwakensis Hayata)作為繪畫對象。這些植物不是藝術史裡典型的花鳥繪畫題材以及象徵符號。植物本身的造型美感與色彩就很吸引人，在畫這些植物與塗抹色彩的時候，我想到的是關於醫學科技與生命延續的關係、對於家人的記憶、物質與質變、與世界的關係、遷移改變的適應力甚至語言。

 

使用油彩（天然色粉上色）的時候多半以描繪的筆觸居多，這些筆觸構成畫面植物的造型而不是以寫實的方式去勾勒。底色是壓克力顏料的Interference珠光色系以及刮擦所產生的的表現性色塊、線條。

 

這些底色的去留、厚塗薄塗與構成造型的拿捏是繪畫性的想像。我享受這個過程，同時我與物質；與對象物；與時間的關係彼此互動著，在畫布上成像。

 

來自大自然與人工科技的產物-色粉，從礦石型態到繪畫表面，具象與非具象的關係在這當中不斷聚合與變形。

 

自然與科技合成物併置，隨著科技演進，色彩物質也在其中展現特質並與人產生關係。 這些物質從環境作用，時間推演，在不同的時空環境裡顯現著不同的風景樣貌、型態與現實。

 

透過觀看色粉在人類歷史上的應用，現實也隨著色彩打散融入畫中。在這個時代，複雜性難以一言以蔽之，我們還能如何來看待一件非具象的繪畫？單色繪畫？具象的繪畫不只是插圖式的驗證。

 

我像是選取現成物的狀態透過繪畫造型語言以及塗抹，重新將他們編排。去模糊具象、非具象、抽象繪畫的界線。

​

透過材料與造形語言把這些碎片組裝起來，從取材到手操作與材料互動展現的時間性，這就是繪畫。

​

​

This series features endemic medicinal plants in Taiwan, including Nakai Yellowwood (Podocarpus nakaii Hayata) and Alishan Mahonia (Mahonia oiwakensis Hayata). Although not the typical subjects and symbols of the flower-and-bird painting genre, these plants embody aesthetic forms and colors that are vibrantly attractive on their own. When drawing and coloring them, what comes to my mind is the connection between medical technology and the continuation of life, the memories about my family, matter and qualitative change, their relationship with the world, the ability to adapt in migration and changes, and even language. 

 

When using oil paint (coloring with natural pigment), I mostly utilize brushstrokes of delineation. These brushstrokes constitute the appearances of the plants, which are not depicted in a realist style instead. Then, the base colors are created with the iridescent Interference pearl pigments, along with expressive color blocks and lines produced by the technique of scraping.

 

The retaining or removal of these base colors, the thick impasto or the thin application of paint, and the mastery of the formal composition visualize the painterly imagination—it is a process that I have rather enjoyed. Meanwhile, I interact with the matter, the subjects, and time, creating images on the canvases. 

 

From the mineral form to the painting surface, pigments from nature and manmade technology continue to emerge and metamorphose in the figurative and the non-figurative relations. Following the advancement of technology, color matter also demonstrates its characteristics therein and develops a relationship to human beings. Due to the influence of the environment and the progress of time, it has revealed different types of landscape, form and reality.

 

Through observing the use of pigments in the human history, it is clear that reality is also broken up and blended into paintings with colors. In this era, complexity is hard to be explained with words. How else can we approach a non-figurative painting or a monochromatic painting? Figurative painting is more than illustrative confirmation. 

 

As if choosing found objects, I employ the formal language of painting and the technique of smearing to re-arrange them, and consequently blur the boundaries among figurative, non-figurative, and abstract painting. 

 

With the material and the formal language, I put together these fragments. The temporality revealed From looking for the subject matter to my interaction with the material with my hands is precisely what painting is about. 

​