Group Exhibition 
2020   日常白  White Design Punk – Multiple co-constructions of medicare, technology, and humanities
National Chiao Tung University x National Yang-Ming University x Hsinchu City Government x wòwò Aesthetics,
Art Site of Railway Warehouse, Hsinchu City, Taiwan 
"Daily" is defined by cultural background, space-time, and actions of the individuals. These elements imply the process of turning self-recognition in life into life attitude. Everyone is a unique individual with a completely different life and story. However, no matter where we come from and how different our thoughts are, the same thing that happens to us is that we all desire our unique "daily" to be accepted by others.
Derived from the "White Design" trend in recent years, "White Design Punk" is a process of bringing together people's daily communication and dialogue. With "White Design Punk" as the core foundation, we start in a way which is different from the counterculture meaning that Punk was in the past, thereby extending Punk's spiritual attitude. 
Through expanding the span and boundaries of various fields, this exhibition focuses on the innovation mechanism, service design, and artistic creation derived from the development of the medical care, technological, and humanities fields these days and presents phased results.
This open-ended exhibition uses medical care as a medium, with sub-topics such as "Health Space", "Digital Well-being", "Medical Collection", "Art Therapy", and "Biological Art". By these, we review how people from different fields are doing dialogue on the basis of "White Design Punk", using historical experience and innovative thinking to find the co-construction of medical care and other fields.

「日常」以個體所處的文化背景、時空、行動所定義,而「白」作為中性的載體,象徵著共融與相互鬆綁。本展覽欲以「白」作為「日常」脈絡下的解構對象,提出「日常白」作為體驗外在世界的態度,讓觀者在展覽中重新梳理自身的思考,同時拉近生活在不同光譜的人們間的距離,給予觀者關於「消弭距離」的白色體驗。
此次展覽源自近年「白色設計」(White Design)趨勢,以「White Design Punk」作為核心基礎,有別於過去Punk在音樂或其他文化脈絡中扮演的反主流意味,進而延伸Punk的精神態度,將各領域跨度及邊界擴展,側重近年來醫療和科技、人文領域交織、碰撞、發展的各種脈絡所衍生的創新機制、服務設計、藝術創作等面向,進行階段性的成果呈現。
這場開放性的展覽以醫療作為媒介,分別以「健康空間」、「數位安康」、「醫療典藏」、「藝術治療」、「生物藝術」等子題切入,並檢視來自不同領域的人們如何在「日常白」的基礎上對話,以過去的歷史經驗與創新思維,尋找醫療與其他領域相遇後共構的樣貌。

Group Exhibition 
2019   2nd exhibition at roof  第二屆屋頂展, Taipei, Taiwan     
According to legend, the Neo-Babylonian King Nebuchadnezzar II had the Hanging Gardens built in the 6th century BC for his homesick-stricken queen. Although no longer standing today, it’s said these gardens, or ‘paradeisos’ in Greek, were planted on tiered platforms supported by columns 25 metres in height, with slaves powering the connected wheels of the irrigation system. Seen from afar, the abundance of trees and flowers hanging over the sides of the terraces would have given the gardens the appearance of hovering in midair — hence the name, and its status as one of the Seven Wonders of the Ancient World. The Greek word ‘paradeisos’ eventually found its way into English as ‘paradise’.
Inspired by this legend, I decided to create “Paradeisos” using a readymade and two photographs — a sheet of artificial turf alongside pictures of what appear to be dazzling seas of flowers, but which are actually man-made landscapes. “Paradeisos”, then, presents a contemporary perspective on the sentimental, speaking to the search for meaning in the grandiose architecture of ancient times, and the plastics that have today managed to supplant us.

空中花園 - 相傳前 6世紀新巴比倫王國的尼布甲尼撒二世為患思鄉病的王妃所修建,現已不存在。花園建於四層平台之上,以 25米高的柱子支撐。由奴隸推動連繫齒輪的把手,維持灌溉。園內種植各式花草樹木,遠看猶如花園懸於空中,又稱懸園,是古代「世界七大奇蹟」之一。希臘文 paradeisos(空中花園)日後蛻變為英文 paradise(天堂)。
藉此傳說,我選擇用照片和現成物來呈現當代的《空中花園》。作品是一塊人造草皮及內容看似艷麗花海,實則人工造景的照片。《空中花園》論及情感,古時藉由宏偉建築追尋雋永,當代則有塑膠替我們達成。


Solo Exhibition  
2018  Flesh and the Everydayness  日常與肉身, Galerie Grand Siècle, Taipei, Taiwan
To me, painting is a state of being, in which loneliness and enthusiasm blend together. When I use painting as a language, a sense of familiarity can enable one to reveal symbols and metaphors rich in poetry without restraint. As for the meaning that the emergence of photography has brought to my artistic career, it not only broadened my variety of mediums, but also expanded my artistic language. The expression of clearness to blurriness of the body, the subject and parts of the body, through photography, which I expect to carry some characteristics from painting, is my unique photographic language.
This solo exhibition will showcase 41 of my artworks, containing paintings, photographs, installations and others. Through the connection within my works and the extension of the sense of space, the viewer will be led to a different level of sensation.

對我來說,繪畫是種揉雜孤獨與激情的存在。當我使用繪畫此一語言,熟悉感使人能恣意的展露富含象徵和隱喻的詩意。至於攝影,出現在我藝術生涯的意義,不僅是身為畫家,開始使用其他媒介,更是擴展屬於我的藝術語言。透過拍照所展現的身體感,主題或局部的清晰至模糊,其帶有某種繪畫性,是我獨特的攝影語言。
此次個展,將帶來繪畫、攝影、裝置等 41件作品。藉由作品間的連結及空間感的延伸,將觀者之感受帶往另一個層次。


Group Exhibition  
2018  Reality marble  固有結界, GalleryMain, Kyoto, Japan
Kyoto ‧ Taiwan, from the series City ‧ Taiwan, was first exhibited at GalleryMain (Kyoto, Japan) in March, 2018. In this segment, I juxtapose images from my travel to Kyoto in 2017 and objects collected afterwards from my hometown in Taiwan. Each pairing is made to highlight textural and symbolic similarities between image and object.

2018年三月於日本京都 GalleryMain 展出的作品,是「City ‧ Taiwan」系列中,「Kyoto ‧ Taiwan」的首次發表。我將 2017年於京都的旅行軌跡,與在家鄉台灣所蒐集的物件進行並置,藉此暗示物件及照片在質地與符號上的聯結。


Solo Exhibition  
2015  Poetic footsteps  不是步伐而是詩, Galerie Grand Siècle, Taipei, Taiwan
It might be something I’m able to brush on, but when it comes to life and death, loss and scars, the greater picture remains just beyond reach. Some words will forever be impossible to write, but through the depths and perceptions of images, we flow together in the same ultimate direction.

對於生命、死亡、失落與傷痕,我或許能夠輕輕觸及但還不足以企及它的所有;有些文字永遠也無法寫出,但透過圖像的深刻及感受性,我們終往同一方向匯流。