Reading Between the Lines 009, 2020
31 x 41 cm
Ink on Paper
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Reading Between the Lines 016, 2020
18 x 26 cm
Ink on Paper
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Reading Between the Lines 010, 2020
18 x 26 cm
Ink on Paper
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Reading Between the Lines 017, 2020
18 x 26 cm
Ink on Paper
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與其說它指涉的是混沌不明或明朗出口，邊隅對我而言更可以是一個雙地帶間的遊移。
Instead of referring it as a chaotic way out or a promising exit, the Edgeland is more of an liminal zone that allows me to shift between two definite states or realms.
Reading Between the Lines 004, 2020
31 x 41 cm
Ink on Paper
在邊與邊、線與線的浮動地帶間，一直是很引我入醉的。特別是在自然與人文之邊線間的流動；流動著峻嶺崇山與建築量體的依存，流動著河曲與地衣濕度的互蒙，流動著山林枝條框景間與屋舍的同生。
I have always been fascinated by places that are in between edges and lines with the fluidity of boundaries. I am especially captivated by the flow within the border of nature and the culture. These particular conditions embrace the interdependence of lofty mountains and architecture, the reciprocity of meandering rivers and damp lichen and the symbiotic relationship between human habitation and scenery when framed by trees and branches.
Reading Between the Lines 012,013,011, 2020
18 x 26 cm
Ink on Paper
Reading Between the Lines 003, 2020
31 x 41 cm
Ink on Paper
空白對於我的創作而言似一首詩，在言簡意駭裡表達其中的應有，所以在取捨間，可以是水、是空氣、是界線。我將這些空白視為更中性的調度，而回歸到作品本身時，空白感受的速度，表達了我對於邊隅靜止與飛快間之流動關係。
The empty space is the poetic soul of my artistic practice. It is the physical manifestation of what it is comprised; so it can be water, air, or the boundary. I regard the emptiness as a neutral state, but when considered as part of the work, the perceived speed at which the eye travels across it is an interpretation of the fluid relationship between the stillness and rapidity within the Edgeland.
Reading Between the Lines 001, 2020
31 x 41 cm
Ink on Paper
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Reading Between the Lines 002, 2020
31 x 41 cm
Ink on Paper
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墨色從白過境到黑，筆刷從緩板調轉到快板，是另一層次我對於Edgeland的理解，這些透過大面體的出口，更清晰的表達邊隅在我記憶裡的餘相。我也將這些大面體的墨色，視為承接下一階段創作的開端。
Another layer of my understanding of Edgeland is how the ink transitions from white to black and how the brushstroke moves from a slow to a fast tempo, as in an orchestral notation. The gestural marks manifested in large areas express more clearly the idea of Edgeland imprinted in my mind. I see these broader expressions of ink as the beginning of the next phase of my artistic practice.
Reading Between the Lines 014, 2020
31 x 41 cm
Ink on Paper
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對於一個以水為媒介的使用者而言，紙張的白與未打底畫布原色的麻，思考的都是初始，尤其當墨色更簡約時，更能純粹的展演於畫面當中。紙張與畫布在經驗裡的差異是墨色流動的速度；在紙張裡墨色可以快速地到達我想要它前往的方向，反之在畫布裡則非常的緩慢，墨色的流動需要筆觸更多的推進，他們反應了我創作時意識遊移的速度。
For someone who uses water as a medium, the white of the paper and the raw linen of unprimed canvas are both the starting point of the stream of consciousness. When the colour of the ink tends to be more monochromatic, it emerges more purely in the painting. The difference in experience between working on paper and canvas is the speed at which the ink moves; it flows more quickly in the direction I want it to go on paper. It moves very slowly through the canvas, requiring more powerful thrust of the brushstrokes. They reflect the speed at which my mind wanders as I create.
Reading Between the Lines 005, 2020
45.5 x 65.5 cm
Ink on Raw Canvas
Reading Between the Lines 007, 2020
31 x 41 cm
Ink on Paper
Reading Between the Lines 008, 2020
31 x 41 cm
Ink on Paper
經常有人詢問並欲想造訪我作品裡的真實場景。對我而言他們是一個總和，是一個疊加，疊加著每段實際造訪後所組成的境。而這些「走過」與「搭乘」的經驗，與觀看的高度與速度有很緊密的關聯。他們在我的作品裡呈現的樣貌是不同視角裡的堆疊，線性速度裡的橫軸或是佇立時的靜止。
People often ask about and want to visit the scenes in my work in reality. For me, they are an amalgamation, of scenes formed by each actual visit. The experience of "being there" and "passing through" are closely related to the elevation and speed of the visual encounter. This manifests in my work as the accumulation of different perspectives; the horizontal axis in the linear speed or the stillness in a moment of rest.
