Visuals | 視物
in.carnation
Feb, 2021
Tear gas canister from Hong Kong, pink-rose carnation
Inhaling tear gas for the first time was a common experience for many Hong Kong citizens in 2019. According to the official data from the police, from June 2019 to June 30, 2020, more than 16,223 tear gas grenades hit Hong Kong.
The vase is one of those 16-thousand tear gas canisters in response to demonstrations. We do not know how will it ends, I am here to show my highest respect to the deaths who fight for democracy, justice, and peace, in Hong Kong, Burma, and around the world.
Refer to a well-known photo entitled ‘Flower Power’ by Bernie Boston on October 21, 1967, shows a Vietnam War protester placing a carnation into the barrel of an M14 rifle held by a soldier.
Carnation symbolizes eternal grief, love, and loyalty. This flower has long been the flower of mourning. The white carnations signify deep sorrow, combining a powerful symbol of death, sadness, and respect. While flowers give beauty at the funeral, they also symbolize hope for everlasting life.
Existence Not Even in Name | 右左
Nov, 2020
This book combined techniques of western ad eastern book binding. The content is just a sentence of ‘One country, two systems.’ I used the copy machine to keep copying the print outs, play with the idea of data degeneration in order to metaphor the future of the Hong Kong political independence. The book has 50 pages, with index of every ten years; indicating the promise by China government on Sino-British Joint Declaration exists in name only. It is just 23 years since the shift of sovereignty, Hong Kong is no longer having any independent system in economy and legislation. Western style for the coverage while the eastern binding technique applied for the inner pages, it intends to show the status of Hong Kong that the politics just want to use a democracy way to wrap a typical Chinese corrupted political means. And it reads from right to left, symbolize the fortune of Hong Kong is stepping from capitalism to communism.
Underneathe . Beneath . Breathe
Nov, 2020
At the early stage of coronavirus pandemic, while people are still not yet familiar with the behaviour of wearing masks, it was a signature of overreaction. People jumped away from me after noticing I am wearing a mask. *They felt shocked and I felt awkward. When face masks become daily things in Asia, many people among the world are still start to learn how to wear masks correctly. *Frankly and honestly, I witness not-a-few-number of people wearing them inside out, I wondered and hesitated for couple of moments whether tell them or not.
In many parts of the world, coronavirus raised a strong sense of race division and hateful emotion burned the entire Asia. As an asian, I felt really uncomfortable to wear masks on street and felt like I was the only one cares about this precaution. Although we cannot see the faces under the masks, we can still recognise people’s race by shape of the face, height of the noses, hair colour, iris, …etc. There is no way to hide. Vice versa, we can still somehow recognise the races by only the bottom parts of faces.
Exhibited in ‘Link Will Follow’, Nov 2020
Trondheim Open, Norway
Slipping Through | 指縫之間
Oct, 2020
the gate between fingers are wide
while the time is slim
you dance through gracefully
without a glimpse on me
hold me tight
like we were
with strong arms
whispering . smiling
hold me tight
like we were
with thin fingers
nothing left but a fag
wrinkling . shading
#20201013 #33 #time #darkroom
10 x 15 cm
Analogue back and white photo papers
Published in “rom.” @ Trondheim Art Book Fair ,
Trondheim Open, Oct – Nov 2020
Deprivation | 日中 盤飧
June, 2020
A piece from my daily life has been taken.
Not back to the city I familiar with.
The piece we were used to treasure most,
the crucial part. It is
how we found our society,
how we build our value,
how we walk along with.
Like the unspoken day on the calendar,
we cannot say it loud, but we never forget.
#standwithhongkong
This workpiece was created during those days Hong Kong is still having protest known as Water Revolution since June 2019, however the issue loses it global spotlights because of the coronavirus pandemic. Having a normal like in a place that far away and separated from hometown is a joke. A simple technique of Photoshop has been used to edit this series of photos. Main food on the plates have been outlined and deleted. It is like something crucial have been taken away from the main dishes of daily life and randomly filled up things from the surrounding. There are many holes and emptiness. Same as the freedom that has been taken away by the tyranny.
30 x 30 cm
Digital Photography
Exhibited by installation format in ‘Refractions/Diffractions: What is Human in Times of Trouble?’ . Edvard-Munch-Haus, Wernemünde, Germany . Aug – Sep 2020
Chitta | 若水
April, 2020
The Sanskrit word ’Chitta’ is one of the four aspects of consciousness in India knowledge, carrying a meaning of thinking, reflection, pondering; used for either the mind or the heart, as being considered respectively the seats of conscious or unconscious mentation. Also used for memory, intelligence, reason, while in astrology it is the name of the ninth mansion. The aspect of chitta allows for subjectivity, one’s emotional reaction, affected by what it sees and its own nature.
This painting plays with light and tie-dye techniques. It presents a transition a status of mind in a water alike way, showing the reaction and manipulation under inevitable forces.
133 x 87.5 cm
Exhibited in KiTX, Trondheim, March – Sep 2020
A journey of forty-two days, more than 30 days of intensive work on one painting, including preparation of the canvas, grinding pigments, drafting, coloring, applying gold. I spent over 16 hours per day to keep the progress.

Exploration of bioplastics – Homemade Galalith
May, 2020
At the beginning of this semester, I explored ways to get bioplastic. I took a simple recipe to make Galalith from milk. And I also took the Bioplastics co-making workshops arranged by Alex and the Architecture Dept in order to tried some more different methods to get bioplastics.
In this project, an alternative way of bioplastic is introduced and see if there is any potential value in our daily life. The initial idea is to share that there are many ways to reduce plastic pollution and making plastic out of milk is one of them. The plastic made out of milk was developed on an industrial scale in the late 19th century and it was known as Galalith. In this project, our idea is I can also make this plastic with expired milk instead of throwing it in the garbage.
“Plastic made from milk” — that certainly sounds like something made-up. I was surprised to learn that in the early 20th century, milk was used to make many different plastic ornaments — including jewellery for Queen Mary of England. In 1897 Galalith was introduced by German chemists, the plastic that is made out of milk and named as Galalith, which is derived from the Greek words gala (milk) and lithos (stone). It’s a biodegradable plastic made from milk. The new plastic was presented at the Paris Universal Exhibition in 1900. One can make the use of expired milk by converting it to other useful things.
With an ever-growing demand and consumption of fossil plastics in modern “throw-away” society, environmentally friendly alternatives for making plastics are more important than ever, to minimize the negative impacts associated with conventional plastics. With a viable alternative, the average consumer can make at home, it can have the potential to help reduce the global plastic waste. There are different ways of focusing on reducing plastic pollution, my motivation is to bring back the popular idea from the 19th century describing the plastic that is made out of milk. This plastic was very popular in that era, which is not harmful to the environment and human life. I decided to point out this old idea by adding some new measurements so that the process of making it is easy and possible to do it at home. Based on that, I did experiments and made some tiny things from the materials.
During the research, I found that how the impact from the animal agriculture and how the demands from dairy product could affect our world. Regarding to the carbon footprint, cow milk is a harmful product. They use so many lands, water and generate huge amounts of greenhouse gases. This is because cows require a hell of a lot of land space and water. Then, there is the fact that cows are the major producers of methane, which is more harmful to the environment than carbon dioxide.

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Custard Apple | 釋迦
Jan, 2019
Taiwan is home to a variety of custard apples known as sek-kia; the fruit is delectably creamy, white and beautifully sweet. Taiwanese refer to the fruit as Buddha-head fruit because of its resemblance to Buddha’s head. This little hand-on practice became a round up for a year of wood learning and mindfulness learning journey in this country.
10 x 10 x 9.5 cm
Camphor, coloured with acrylics and crayons
釋迦,外觀與佛祖的髮型相似,故又稱佛頭果,口感軟滑,味道清甜。台灣盛產這品種的釋迦;這塊木頭,就作為這一年在台灣學佛、禪修及木作的小總結。
10 x 10 x 9.5 厘米
台灣樟木、塑膠彩及蠟筆
Woodwork | 木作
2018 - 2019
Details take time. From a raw piece of wood, turning into a final piece. Every handmade woodwork is like an evolution. The reason why I started with learning fundamental woodwork skill on furniture instead of prompt into artistic creation, I believe the way of furniture making is precise and high-standard with more consideration on measurements, while art creation requires less constraint and could be freely exploring through trial and error. It should be better to learn through constraints when we want to master a technique, then we can explore more with artistic approaches.
I remember that the furniture of my home were all made by my father. he used to laughed and said that he had never been got any formal training about that, yet he seemed to be able to make everything. Since I was a child, I was very interested in wood products. Finally I got chance to develop woodworking skills in Taiwan and started my works with raw wooden material.
從一塊原木,變成一件成品。 每個手工製作的木製品都像是一種演化。真切體會用時間處理細節作帶來的張力。
我選擇了家具的基本工作為切入點而非直接進入藝術創作,因為我相信家具製作的方式是精確和高標準的,需要很多實在的考量,而藝術創作約束較少,可以天馬行空自由探索,反複試驗,把誤差變成創作的一部份。 但我們想要掌握一種技術的時候,好像更應該透過面對約束來提升技巧,再探索更多藝術的可行性。
想起從前家裡的家具都是由父親一手一腳製作,父親笑說從未學師,但卻好像什麼都能造出來。自小就對木製品很有興趣,終於在台灣能工規的學習木工,用上原木製作成品。
Cube | 元方
2008
An interactive electronic cube composed of sensors and LEDs. No program installed. The lights are on and off switching depends on the movements of the cube. Only the lights at the bottom of the cube would be on no matter how you move it.