當我們砍下一棵樹,祂變成了一顆太陽。
When we cut down a tree,
it becomes a sun.
翻譯/ChatGPT
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太陽樹Sun Tree
複合媒材、畫布再製 Mixed media on repurposed canvas
30x30x5cm
2024
noise dept.
Fieri Frames
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Not today Justin
Claire Keane
Doug Jones
PUT YOUR BEARD IN MY MOUTH
occasionally subtle
TMBGareOK. The Official They Might Be Giants tumblr
untitled

Product Placement
Fai_Ryy
"I'm Dorothy Gale from Kansas"
Lint Roller? I Barely Know Her

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The Bright Sessions
The Bowery Presents
Game of Thrones Daily
taylor price

ellievsbear

seen from Rwanda
seen from Türkiye

seen from United States

seen from United States

seen from Türkiye
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seen from United States

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@kuochuhsien
當我們砍下一棵樹,祂變成了一顆太陽。
When we cut down a tree,
it becomes a sun.
翻譯/ChatGPT
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太陽樹Sun Tree
複合媒材、畫布再製 Mixed media on repurposed canvas
30x30x5cm
2024
〈大我和小我〉
其實祂們都是完整的。沒有高低貴賤之分。
這是一大一小的組件,在大件的畫面中,你可以看見大圓和小圓,可以說它們就是大我和小我;小件的也是如此,但同時,大件的又是一個完整大我,小件的也是一個完整小我。
觀賞過程可以提取單件來看,也可以組件欣賞。
這件作品使用二次畫布,保留前次作品的某些細節,彷彿大我或小我裡本就存在的生命質地,各種輝煌或黯淡,都是非凡。
The Greater Self and the Smaller Self
In truth, both are whole. There is no hierarchy between them—no higher or lower, no noble or lesser.
This work is composed of two pieces, one large and one small. In the larger piece, one can see a large circle and a small circle; perhaps they may be seen as the greater self and the smaller self. The same can be found in the smaller piece. At the same time, the larger piece is itself a complete greater self, while the smaller piece is itself a complete smaller self.
The two pieces may be viewed individually, or encountered together as a set.
The work is made on repurposed canvas, preserving certain details from the previous painting. These traces seem like textures of life that have always existed within the greater self or the smaller self. Whether radiant or dim, each is extraordinary.
翻譯/ChatGPT
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大我和小我
複合媒材、畫布再製 Mixed media on repurposed canvas
60x60x5cm, 25x25x5cm
2026
這是一件來自2014年〈那些大笑的傷口〉的升級版,當時,我把畫布割破,再以紅色線條縫合,完成後,留下剩餘的線段垂掛在畫布上。
最後,將其佈置於展場的獨立空間,並在天花板設置風扇,讓那些如血絲般的線段隨風旋轉、飄揚,有點像一個已經開腸破肚的人,卻拿著自己的腸子在跳繩,苦中作樂,又同時能夠抽身,以近乎欣賞的角度回望那個遭碾壓的自己。
12年過去,那些傷痛沒有消失,但我已疲於反覆觀看和重述它們,透過一次次自我整合,結痂開始鬆動、疤痕發生變化,漸漸長成一座山,有了綠意和微光。
現在,當我看著這些作品,不再只是看見悲傷的自己,也看見了蘊含其他可能性的天晴。
This work is an upgraded version of Those Laughing Wounds from 2014. At that time, I cut open the canvas and stitched it back together with red threads. After the stitching was done, I left the remaining strands hanging from the canvas.
In the end, I installed the work in an independent space within the exhibition venue, with a fan set up on the ceiling. The blood vessel-like threads spun and fluttered in the wind, almost like a person whose body had already been cut open, yet was still jumping rope with their own intestines—finding joy in bitterness, while also managing to step outside of the pain and look back, with an almost appreciative gaze, at the self that had been crushed.
Twelve years have passed. Those wounds have not disappeared, but I have grown tired of repeatedly looking at and retelling them. Through cycles of self-integration, the scabs began to loosen, and the scars began to change. They grew into a mountain, with touches of green and a faint glimmer of light.
Now, when I look at these works, I no longer see only the sorrowful version of myself. I also see a clearing sky, filled with other possibilities.
翻譯/ChatGPT
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那些大笑的傷口長大了Those Laughing Wounds Have Grown Up
複合媒材、畫布Mixed media on canvas
31x41x2cm
2026
成長有時靜靜的、慢慢的,但持續在發生。
畫面中的凹陷處,我視為人生低谷,不知柳暗花明在哪村,確實是最難熬的時刻,但漸漸地,我也開始培養出對自己的信心,我隸屬於宇宙,相信祂不會虧待我的。
框體來自我撿回家的一件二手矮櫃。離開原主人後,又在我家服役了十年之久,直到部分櫃腳已開始腐朽,無法站立。拆卸之後,移除木條上的釘子和蛀洞,重新切割、黏接、打磨,最後上以胡桃油,守護木材的質地、紋理和時間感。它與畫面近身貼合、彼此輝映。
Growth is sometimes quiet and slow, yet it is always taking place.
I see the recessed space in the image as a low point in life. Not knowing where the path might open into light is truly one of the hardest moments to endure. Yet gradually, I have also begun to cultivate a sense of trust in myself. I belong to the universe, and I believe that it will not treat me unfairly.
The frame is handmade from reclaimed solid wood. Each piece was carefully selected, planed, cut, and sanded, preserving the wood’s own texture and sense of time. It echoes the painting, completing the work as a whole.
翻譯/ChatGPT
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悄跫跫Quietly, Softly
壓克力顏料、木板、回收實木再製手工框Acrylic paint on wooden panel with handmade reclaimed solid wood frame
30x33x2.5cm
2026
我想住在一個靠山又靠海的地方。這幅畫是我腦海中一閃而過的影像,我不確定這個影像是否回應了我當時的渴望,然而當我看著這張畫時,又想起了多年前的未竟之願。
那時我在香港的一區海灣處,此地杳無人跡,前有清澈的、小小的淺灘,後有一間有稍嫌破敗的小房子,倚靠著山丘,歲月靜好的氛圍讓我忍不住在內心呼喊:「我想住在一個像這樣的地方!」
接著,我開始搜尋腦內的台灣地圖(我發現它還真是貧脊!),西半部的海是比東半部平靜許多,但東部大洋那無與倫比的湛藍一直在我心中閃閃發光,邀請我前往。又想到颱風在東部總是撲面而來,不禁膽顫心驚,我還沒落腳,內心的暴風已經把我名為夢想家的屋頂,毫不留情地吹掀。瞻前顧後以及各種繁冗的理由,最終我只是原地不動。
或許這張畫,就是我的美夢成真。我的意識實現了她的願望,在一張有山有海的畫面之中,住了下來。
這件作品使用了二次畫布,保留之前作品的質感,於畫面中下潛,其弧度彷彿揭示了一顆星球,為整個願望作寧靜的支撐。
I want to live somewhere close to both the mountains and the sea. This painting came from an image that flashed through my mind. I am not sure whether that image was a response to the longing I felt at the time, yet when I look at this painting, I am reminded once again of an unfulfilled wish from many years ago.
Back then, I was at a bay somewhere in Hong Kong. There was almost no one around. In front of me lay a clear, small stretch of shallow shore; behind me stood a slightly dilapidated little house, leaning against a hillside. The quiet, timeless atmosphere made me cry out inwardly: “I want to live in a place like this!”
Then I began searching through the map of Taiwan in my mind—and realized how poor and incomplete that inner map really was. The sea along the western half of Taiwan is much calmer than that of the east, but the incomparable azure of the great ocean on the eastern coast has always shimmered in my heart, inviting me toward it. And yet, when I thought of how typhoons always strike the east head-on, I could not help but feel a tremor of fear. Before I had even settled anywhere, the storm within me had already blown the roof off the house of my dreamer self without mercy. With all my hesitation, overthinking, and countless complicated reasons, I ultimately remained exactly where I was.
Perhaps this painting is the fulfillment of that beautiful dream. My consciousness has realized her wish: she has settled down inside an image where mountains and sea both exist.
This work was painted on a reused canvas, preserving the texture of the previous piece. That earlier texture sinks into the lower part of the image, its arc seeming to reveal a planet, quietly supporting the entire wish.
翻譯來自chatGPT
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家 Home
複合媒材、畫布再製 Mixed media on repurposed canvas
53x45x2.8cm
2026
完成這張畫時,《上升的一切必將匯合 》這本書的書名就出現在我的腦海。
雖然小說本身並不開朗,但我還是決定讓句子那本就帶有積極面向的含義,來使作品完整,成爲其名稱。
這行為——就像荒誕的幽默感始終潛藏在小説的內文那樣,也潛藏在這裡。
但作品中的希望,仍是真切而實在的。
既然沒有什麼是絕對悲劇的,那麼,也就沒有什麼是徹底喜劇的。完全仰賴我們的選擇,在每個選擇成形之後,其他類似的可能性也會跟著聚攏過來。
畫面底部的廣闊,就像所有的可能性,潛藏著、等待著被選擇,而漸漸昇湧的方向就是聚焦成的圓滿。
When I finished this painting, the book title Everything That Rises Must Converge came to mind immediately.
Although the novel is not a comedy, I choose to embrace the optimistic elements in that phrase—much like the absurd humor subtly embedded in the story itself.
Nothing is entirely tragic, and neither is anything purely comic. It all depends on the choices we make in our hearts. And perhaps, similar choices will always find their way to converge.
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上升的一切必將匯合1 everything that rises must converge 1
27x35x2cm
acrylic on wood 壓克力顏料、畫布
2025
在老師們諄諄教誨之下,「不知道」從來不能是答案,但有這麼些時刻,我真的很想說:「不知道。」我不知道我為什麼畫出這張畫、我不知道它從哪兒來的,似夢似影。但我不想錯過。 「不知道」不是因為我不願思考,而是想讓圖像和思緒流淌。靈感是被接納後成形,無法驅趕,也無法催促。 我本想取名「無題」,雖然我一直不喜歡這麼做。結果,光斑停佇,說它是「雲」。
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雲
72x53x5cm
壓克力顏料、畫布
2025
詩到底是什麼?一句話可不可以是詩?如果可以,那一個字呢?
這是一顆用我自己寫的詩組成的球。
所有的字揉在一起,卻分散了可被閱讀的詩,根據觀者所佔的位置,讀到不一樣的字,隨著移動的方向,讓閱讀的順序被錯置,組成一首觀者自己的詩。
你讀一個字也是詩,零碎的詞也是詩,你在觀看的同時,被迫組詩。在我的作品裡,你成了一個詩人。
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詩球 a poem
陶瓷ceramics
23x12x9cm
2024
有時候,看著大樹,我突然理解了——我畫的不是畫,是自然。由我人手而生的自然。
我是那麼輕易地理解到美,看著大樹的斷肢、生長的歪曲、不考慮人類美感的恣意伸展,一切是這麼地美,自在而美。
在我的畫裡,那些反抗人類美感而保留下來的筆觸,就是因為我體會到了它的美。那種美來自對美的反思與拋棄,是建立在習得之美上的不美之美。那份被保留下來的侘寂、不過度造作、最低限的人為所提供的開闊,讓你得以喘息和原諒自己也有的不完美。
傑克有顆神奇魔豆帶著他成長。我有一座會發芽的搖籃,作為眠床。關於夢境的所有冒險,它都能為我捕捉。我晃動其上的斑點,排列成夢中的星星。灰色的崎嶇,是夢殘留下來的痕跡。我可以睡時和醒著做夢,就像畫一幅畫,各有所展、各有所獲。 Jack has a magic been. And I have a cradle that will catch dreams for me. The dots are stars shining in the dreams. Those grays are the shadows of dreams I ever had. I can dream when I wake up like I can draw when I fall asleep. And it feels good like normal life. - 醒著做夢 wake and dream 壓克力顏料、畫布 acrylic on canvas 30x30cm 2021
喃喃自語的靈魂
老師們常常說,我們的作品總是流於 「 喃喃自語 」 ,但我想來想去,覺得喃喃自語也沒什麼不好啊。我願意試著去了解每個喃喃自語的靈魂有什麼不同。所以是老師們才有問題吧?他們可能平時的個性就偏向懶得理解別人,只想知道自己能夠輕易置入的(社會)事件——和他的生活習習相關——似乎視 「 喃喃自語 」為一種不上道的表現方式。甚至認為我們這些容易喃喃自語的作品不關心這個世界。但我覺得,我們不是不關心,我們只是更關心在較精微的細節上、個人的情感波動上、心靈上⋯⋯,不代表這些就不是世界的一部分。
我隨著風走著,任由傾斜的本質拓展,走一半的風景,卻看見終點的旗幟。我不抗拒這突如其來的成果,為這舉動命名。
命運跑起來可能飛快,來不及作夢,就找到了答案。於是我躺下來,呼吸,和接受。
i take a walk with the wind. Let the wind run ahead of me and get the flag quickly.
The road is sloping. i follow it, and my heart follow it too.
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一條敦厚的出路 a sloping road
壓克力顏料、畫布 acrylic on canvas
6F
2021
如此稠密的眼淚,化不開大地的慟。社會的期待像魚刺,我嚥不下,卻無法忽略。我握著土地的手,和祂訴說。而人工製成的語言啊,居然無法溝通,卻用在攻擊和說謊。山和我都著急起來,這個世界需要光。
i am so sad. Mountains become more black than yesterday. Even a lot of tears cannot clean the bleeding earth. The pain come closer and get together. We need the light, not a lie. Mountains feel broken, when the darkness is the only thing in the world. At last, we can’t see anymore.
滴下 dropping
壓克力顏料、畫布 acrylic on canvas
20F
2021
畫圖的時候,把心交給上天,就完全可以畫成你想要的樣子。
when i feel more relaxed, the painting will get closer what i want.
熱烈化白,水滾在筆墨之中,渲染了景緻。筆走一步,心也走一步;筆跑了起來,心就狂奔。筆咆哮,心閃起了雷電。只是一切在熾白之後,雨也滾在筆墨之中。
Turning everything into white. The water is boiling in the color and brush and irrigated the scenery. The background is resounding and splendid. So I dim down it with the white color. The brush follows my heart closely.Jump and yell. Never feel tired. when it rains, everything is ready.
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熾白the boiling white
壓克力顏料、雨水、畫布 acrylic, rain on canvas
30x30cm
2020
In Taiwan, technology art is the must popular art. If you want to catch people ‘s eye balls you have to become a technological artist.
I am a painter most of the time, and I love conceptual art. So I put the wires on my work and name it “technology art.”
在全球化、資本主義、西方文化當道的情況之下,對個人性的悲劇或在地文化的漠視,我們可以擁有什麼樣的生活方式?相較於主流,我們雖然喪失抵擋的權利,仍可以試圖以「掙扎導致幽默」的態度來回應這個社會。
台灣位處邊緣,汪洋大海一粒孤島名符其實,一方土地還是大得讓我們能夠戰南北、和大自然搶資源、方言百百種……透過少數的強勢喜好,台灣如今也有屬於自己的主流——我們關心群眾,卻漠視個人;我們打著多元化的口號,卻對新媒材趨之若鶩。強勢喜好看膩了繪畫,繪畫就落沒;對科技藝術瞪大了眼睛,鼓掌叫好,那麼科技藝術如雨後春筍。
但不管媒材是什麼,身而為人,我們一直探究的終極問題始終沒變。或許我們可以說,好險因為人類的心靈從古至今沒有成長得如藝術史這般巨大,我們活得再正義,也會被不正義打壓。我們對同樣的問題困惑,卻深陷其中。科技藝術的內容,儘管抽離成炫目的光影和機械裝置,仍與繪畫、雕塑等傳統媒材所傳達的情感與概念,大同小異。
我這次的作品試圖將這兩項在某種程度上看似對立的關係——繪畫的獨立性(不需要電力)與邊緣性、科技藝術的依附性(需要電力)與當代性結合在一起。作為一種藝術上的自嘲,是前面提到的「以掙扎導致幽默」的姿態。自嘲若是面對著自我,是自娛,有幸面對著群眾,那就能娛人。
雖然我們受的美術教育是把藝術菁英化,但藝術家們因為經濟、工作狀態等等,或許和社會最底層的人沒兩樣。真正不同的是,我們嚮往詩意的心靈並未放棄。
這件作品中,運用繪畫盡可能地把底層的詩性鋪展開來。在此分成兩個組件:一組畫布大面積塗白,蓋掉原本的作品,象徵科技藝術取代了繪畫的部分。另一組以「帶有類傷口」的畫面展示,彷彿多一條象徵科技藝術的電線,就能填補繪畫的匱乏。兩組件各在畫布後方連接一條沒有任何功能的電線,以及一顆內部沒有任何裝置的插座——帶上科技藝術的根源,形成「偽科技藝術」。刻意地不去達成一雙雙觀看的眼睛,對科技藝術的任何期望。然而,靜靜的等待,本身就是一首詩。
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科技藝術——蔽 technology art 1
科技藝術——傷 technology art 2
依場地而定 site-specific installation, dimension variable
壓克力顏料、畫布、電線、插座 acrylic, canvas, wires
2020
I have a picnic with colors. The earth prepares the beautiful green grass for us. We enjoyed a lot of great time together and left the blessings behind.
走進一片有些遺憾的草地,是你為我種下的。沒有動物打滾的痕跡,但有許多被銳利斷頭的草根。我只好和色調一起野餐,刺破情緒的出口,留下希望的筆觸。
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草地上的野餐 picnicking on the green
壓克力顏料、畫布 acrylic on canvas
30x30cm
2014-2020