抽象與寫意的探討，是十年前自己博士論文中的一段論述。就我的觀點而言，抽象是一種方法論，為將事物化繁為簡的邏輯，帶有思辨與取捨的判斷。而寫意是一種東方情懷，在文思感性中抒發概念化的美感意象。

所以，“把酒邀明月，對影成三人”在寫意裡，明月、影子和人可以是等比、擬人的對象，也都是情思的表徵。但抽象的意義，其實是在簡化過程中展現“庖丁解牛”的清明思路，最終的成果是人們認知的最大公約數。

反覆斟酌在抽象方法論、東方情懷間的探索，其實也就是近年來在雕塑創作上形與意的展現。

The discussion of abstraction and freehand brushwork is a passage from my doctoral dissertation ten years ago. From my perspective, abstraction is a methodology, a logic for simplifying complex things, imbued with a critical and selective approach. Freehand brushwork, on the other hand, is an Eastern sensibility, expressing conceptualized aesthetic imagery through literary thought and sensibility.

Therefore, in the freehand painting of “I drink wine with the bright moon, and my shadow and I become three,” the moon, shadow, and human can be objects of comparison and personification, and all represent emotions. However, the significance of abstraction is actually to demonstrate the clear thinking of “butchering an ox” in the process of simplification, and the ultimate result is the greatest common denominator of people’s cognition.

The repeated exploration between abstract methodology and oriental sentiment is actually the manifestation of form and meaning in sculpture creation in recent years.