我的創作，起於對生活與土地的觀看，並在持續的實踐中，逐步轉向對感知與存在的探問。

早期的「鄉情系列」，以日常經驗與自然環境為出發點。這些畫面看似貼近現實，實則已在光影與細節之中，隱約觸及時間與記憶的流動。

隨著創作的推進，「易開罐系列」將視線轉向物件本身。透過重複、擠壓與結構的轉化，物件逐漸脫離其原有功能，轉而成為觀看與消費關係的承載體，也開啟了對外在世界的重新理解。

在「池塘系列」中，具體的對象逐漸消隱，畫面轉化為一個持續生成的場域。光影、倒影與時間彼此交織，使觀看不再指向某個確定的景象，而成為一種流動中的經驗。

與此同時，「飛羽系列」自創作初期延續至今，並未落在單一發展階段之中。它更像是一條持續浮現的內在線，圍繞著生命的流動、自由與脆弱，在不同時期反覆出現，成為連結各個創作狀態的重要線索。

在這些系列之間，變化的不只是題材，而是觀看方式的轉移，以及對存在經驗的逐步深化。

My practice begins with an attentive gaze toward everyday life and the land, and gradually shifts toward an inquiry into perception and existence.

In the early Homeland Series, the works are rooted in lived experience and the natural environment. While they appear closely tied to reality, subtle shifts of light and detail already begin to evoke the flow of time and memory.

With the Can Series, the focus turns toward the object itself. Through repetition, compression, and structural transformation, objects are gradually detached from their original function and reconfigured as carriers of perception—opening a space to reflect on consumption and the external world.

In the Pond Series, concrete forms begin to dissolve. The image transforms into a continuously evolving field, where light, reflection, and time intersect. Seeing no longer points to a fixed subject, but unfolds as an experience in flux.

Running throughout these phases, the Feather Series does not belong to a single stage. Instead, it emerges as a recurring inner thread—centering on the flow, freedom, and fragility of life—linking different moments of the practice.

Across these series, what shifts is not only subject matter, but the very condition of seeing, and the deepening awareness of being.