寂靜的著陸 Where Silence Lands

50 × 60 cm, 2026
Mineral pigment on canvas

Leaving a blank space within the crevices of time, so that the echoes of the soul may gently land in the quietest corner.

寂靜的著陸 Where Silence Lands

50 × 60 cm, 2026
Mineral pigment on canvas

Leaving a blank space within the crevices of time, so that the echoes of the soul may gently land in the quietest corner.

有限之中的無限 The Infinite Within the Finite

60 × 120 cm, 2026
Mineral pigment on canvas

There is a solitude of space
A solitude of sea
A solitude of death, but these
Society shall be
Compared with that profounder site
That polar privacy
A soul admitted to itself –
Finite Infinity.
— Emily Dickinson

We drift as if upon the boundless seas of a multiverse, quietly pursuing the essence and meaning of life within the sanctuary of this garden.

消融 Dissolution

80 × 60 cm, 2026
Mineral pigment on canvas

As the boundaries of the self quietly dissolve, we cease to be an isolated island, becoming the very tide of the entire ocean.

阿尼瑪和阿尼姆斯 Anima and Animus

30 × 30 cm, 2026
Mineral pigment on canvas

They coexist within our inner universe, like day and night, like ebb and flow, mirroring one another yet never devouring each other. That is the profoundest, most authentic wholeness of the soul.

TRACK 01｜小調 Minor Key

120 × 90 × 5 cm, 2026
Acrylic on canvas

Minor Key continues my impressions of the body and sound while dune-bashing in the Egyptian desert. It also stems from a different understanding of rhythm and emotion that emerged through learning music production.

The off-road vehicle rose and fell at high speed between the dunes. Some people screamed, while others laughed wildly. As someone with a more introverted temperament, I barely made a sound, yet internally I continued responding to everything before me. The “like” symbol in the painting resembles a sound left unspoken, becoming a quiet inner response.

The work also incorporates the concept of string instruments. The dragging and stretching movement between the bow and the string while playing evokes for me the relationship between lines and sound. I therefore replaced the paintbrush with paint-covered cords, dragging, swinging and waving them across the canvas, allowing bodily movement to transform into linear traces that extend like the sound of strings.

Minor Key is not about sadness, but about a more restrained kind of sound: something that is not spoken aloud, yet continues to vibrate within the body and across the image.

TRACK 02｜大調 Major Key

120 × 90 × 5 cm, 2026
Acrylic on canvas

Major Key also responds to the experience of dune-bashing in Egypt, but transforms that memory into a more outward-reaching sound, rhythm and bodily energy.

The jeep surged up the dunes before sliding rapidly down from the heights. Screams, laughter, wind and engine sounds emerged simultaneously. Each person’s body seemed to become a different musical note, forming an improvised composition within the same moving space.

Compared with the string-like dragging and extension of Minor Key, Major Key introduces stronger images of rhythm and percussion. The paint-covered cords were swung and struck against the canvas with greater force. Lines overlap in abundance and paint splashes across the surface, like drumbeats falling again and again, transforming sound into visual rhythm and impact.

Major Key leaves behind a life rhythm that expands outward. Different people, different sounds and different bodies come together in a brief encounter, forming an energetic ensemble.

TRACK 03｜飆沙 Desert Rush

36 × 36 × 5 cm, 2026
Acrylic and sand on canvas

This work was inspired by my experience in the Egyptian desert. At the time, I was sitting inside a jeep travelling at high speed. Amid the intense shaking and movement, I felt myself enclosed within a mechanical space. The vast desert and the small vehicle formed a powerful contrast, while the human body existed within this tiny mechanical environment, with the blood seemingly flowing rapidly through an enclosed vessel.

The jeep sped, descended and skidded across the tops of the dunes, producing an intense sensation of weightlessness. The body was thrown into space, as if the soul had been separated from the body.

The tracks left by the wheels in the sand resemble blood vessels and pulses within the human body, extending outward and vibrating continuously. The lines and flowing forms in the work come from my sensations of speed, pressure, excitement and weightlessness. They express both the smallness of the human being within the vastness of nature and a mental state in which bodily sensation and speed merge into one.

Desert Rush attempts to depict a sensory experience between tension and freedom, as well as the energetic relationship that moves between the machine, the body and nature.

TRACK 04｜特寫 Close-Up

36 × 36 × 5 cm, 2026
Acrylic and sand on canvas

Close-Up originates from my experience of spatial scale in the Egyptian desert, and is also connected to my previous experience of using drones and observing changes in altitude and viewing distance.

Standing in a desert with almost no boundaries, everything within sight was an ever-expanding field of yellow. This reminded me of the way we see when a drone rises and descends: the altitude constantly changes, and the scenery on the screen enlarges and shrinks accordingly. Yet in the desert, whether the line of sight rose or fell, it still seemed to remain within a similar expanse of yellow.

More strangely, the ground beneath my feet had once been the geological space of an ancient ocean. Although I was clearly standing on the surface of the earth, my consciousness seemed to be falling into another time and depth.

The sky, the desert and the ancient seabed therefore overlapped with one another. Close-Up is no longer concerned only with distance, but with the question of where we are when space loses its coordinates: How high above the world are we at this moment, and how deep within it do we stand?

TRACK 05｜風中的絲巾 Scarf in the Wind

45 × 80 × 5 cm, 2026
Acrylic on canvas

During a journey through Egypt, the women travelling with me raised their sun-protective scarves into the air. The wind suddenly lifted the fabric, and the scarves turned, twisted and fluttered in the sunlight. At that moment, everyone began to laugh with happiness. It was a brief scene, yet it became one of the most vivid memories of the journey.

Watching the scarf constantly change shape also brought back my past experience of studying 3D animation. In a virtual space, the movement of wind and fabric must be constructed through physical simulations involving fluid dynamics, gravity and collision. The scarf before my eyes, however, completed these complex transformations naturally in the real world.

Wind has no physical form, yet it became visible through the movement of the fabric. In that moment, the real world and my experience of 3D animation briefly overlapped. What remained was the sunlight, the flying scarf, the sound of laughter and the instant when life was unexpectedly touched.

TRACK 06｜也許沒有未來神話 Perhaps There Is No Future Myth

120 × 90 × 5 cm, 2026
Acrylic on canvas

The Egyptian myths that once existed in books and the imagination suddenly appeared before my eyes at a tangible scale during this journey. Deities, murals and histories from thousands of years ago intersected with my everyday experience of using AI to generate images, producing a sense of temporal and spiritual dislocation.

This dislocation also entered the method of painting. When drawing in Photoshop, digital brushes can imitate oil paint. In AI-generated images, objects often appear blurred, misaligned or physically inaccurate, as if the pixels themselves were drifting apart. In the actual oil paintings, I therefore reversed the process, using paint to imitate these digital brushstrokes and the inaccuracies of AI-generated imagery.

Computers once simulated painting. Now painting has turned back to simulate AI. Ancient myths, actual history and generated images overlap with one another. Are we looking at myths left behind by the past, or are we creating the future myths that have not yet arrived?

TRACK 07｜翻白眼 Eye Roll

22.5 × 15.5 × 2 cm, 2026
Acrylic on canvas

As a heavy user of the internet and AI, emojis have long been part of my everyday language for responding to the world. Very often, a simple image can take the place of an emotion that is difficult to explain clearly.

Eye Roll deliberately leaves the eyes without pupils. Once the position of the pupils changes, or different forms, symbols and lines are added, the same image can produce an entirely different emotion. It is therefore not a fixed facial expression, but more like an emotional interface waiting to be filled.

This also responds to the experience of Desert Rush: the same vehicle, the same desert and the same moment of weightlessness may produce screams from one person, laughter from another and silence from someone else. The world may remain the same, but each person’s experience is different. Through a playful internet reference, Eye Roll leaves behind a gaze that has not yet been determined.

TRACK 08｜大翻白眼 Big Eye Roll

36 × 36 × 5 cm, 2026
Acrylic on canvas

Big Eye Roll enlarges the small facial expression originally found on a mobile phone screen to a scale approaching that of the human body. It further shifts painting from an act of “looking” toward one of “participating.”

The completion of the work does not mean that the creative process has truly ended. A collector may choose to personally add their own gaze, lines or symbols, allowing the work to continue taking place within another person’s life. Alternatively, they may choose to do nothing and allow the blank space to remain. Both intervention and non-intervention are choices permitted by the work.

For me, this also changes the meaning of “completion” in painting. The work no longer ends only at the moment when the artist leaves the canvas. It may continue to transform when it is viewed, collected or even encountered again many years later. The artist leaves the eyes; the viewer determines the gaze. The blank space itself is also a form of expression.

牧羊人 2026
高清單頻錄像 Single channel HD video
Edition 6 + 2 AP