在作品“蘭”按照原本想像的樣子完成後，有一段時間，腦海裡經常浮現三島由紀夫的〈金閣寺〉，一種精神性的“金色”。

蘭這個意象，一直以來象徵著中國古典文人的氣韻，猶如墨綠色般的溫文儒雅。心裡思忖著，文藝在呼吸著當代氛圍時，創作在本質上也確實思辨著那個屬於時代或我的“詮釋權”。“應該”、“理當”的認知脈絡，經常在如私小說般的創作意志下被反覆斟酌。對於本質的探究，也猶如星火般提點著我與創作的關係。

於是，相較於熾烈爐火下的金色，我將所看到的，雖然一樣濃烈，但更像香醇威士忌所散發的那種質地溫潤的金色，呈現出一派生鮮的當代性格。

After the work “Orchid” was completed as I originally imagined. For a period of time, Mishima Yukio’s “The Temple of the Golden Pavilion” often appeared in my mind, one kind of spiritual “golden”.

The image of orchid has always symbolized the charm of classical Chinese literati, as gentle and elegant as dark green color. I thought that when literature and art breathe the contemporary atmosphere, creation is essentially about the “right of interpretation” that belongs to the times or me. The cognitive context of “should” and “ought to” is often considered repeatedly under the will of creation like a fiction. The exploration of the essence is like a spark that ignites my relationship with creation.

So, compared to the golden color under the blazing fire, what I saw, although equally strong, was more like the warm golden color exuded by fragrant whiskey, showing a fresh contemporary character.