Born in Taiwan in 1987. Grew up in Nantou Puli. Currently lives and works in Taipei, Taiwan. He graduated from Chinese Culture University with Bachelor’s degree in 2011 and Taipei National University of the Arts with Master’s degree in 2017.
Viscerally perceived and rationally contemplated, my works mainly render my understanding of life, reflecting my life experiences and curiosity of the world around me. My imagination links my body to the world, and through it, I use all kinds of forms to reflect my perceptions of reality. This approach of representation is difficult to equate, even when we constantly attempt to close in on it through language. Works of art are, in this sense, extremely attractive because they hold unlimited imagination, and can often go beyond the expression of words.
My early works consist mostly of painting. Creative expression was a way to convey emotion and a medium for imagining the world. Since being introduced to new media, I found that my methods of expression have expanded, but also that I faced greater and further issues. In addition to the mastery and exploration of medium, are we able to choose only one method of self-expression when so many choices are presented before us? What is the deeper meaning behind artistic practice? And what is the relationship between my work and myself?
My work and practice have always originated from the properties of everyday objects, entering personal observations and evoking sentimental ambience from the expansion of personal experience. From my point of view, life, memory, and objects form a complete cycle. I have repeatedly experimented on how to convey this relationship through artistic expression, for example, with loop images, recurring space, and the cycle of objects. Finally, regarding the possibility of regeneration, the issue of artistic practice is then how to present, or even enter, a holistic system of relations, and to express its continuous development or state of circulation.
Confronting the corresponding relationship with present systems and the emphasis of social interaction in contemporary art, I began to ruminate over what becomes of artistic practice when it stems from the individual. I was forced to think about whether I should distance my feelings and individuality from my works, and utilize different methods of form and thought to discuss public and social issues instead. This was the starting point and transition of the themes explored in my later works, which in turn would become a part of my life experience, circulating back as a nutrient for my creative endeavors.
When communicating and collaborating with various industries for my projects, I came across more industry stories, and explored how individuals circulate and change in this vast society and social interface. This became a perspective and method that I applied to my artistic practice, and was also a relocation of my subjectivity as an artist. Creative practice is not only about conversing with the public, but also learning from it, allowing one to meditate on how to seek the voice of individual industries through artistic means, so that they could gain attention from different territories.
In response to the contemporary state of life, I often ponder the advanced modernization of the present day. The modern indicates progress, one that makes headway but never turns back. One of my motivations for artistic practice has always been to narrate the nostalgia of the past and self within the contemporary. It is like retrieving the hidden and discarded antiquated objects from an invisible location in the life, a cycle, a return to the original, but nevertheless, propelling forward.
