鹿港 – 台北 Lukang – Taipei
版畫 – 雕塑 Printmaking – Sculpture
金屬 – 造形 Metal – Modeling

童年在70年代充滿民俗工藝、廟會文化的鹿港小鎮成長。寺廟裡的雕樑畫棟、木雕、石雕、竹藝、金工藝品，常常就能在街邊的工藝師傅家看到實作。於是，耳濡目染成為喜歡動手做東西的小孩。學齡時來到台北都會，在趨近解嚴的80年代，一邊感受打開意識型態的社會演變，和一邊追逐美日流行文化中，度過小學到高中10年的美術特教班。基本上是從“畫我所想像的世界”，過渡到“畫我所看到的現實”。但到頭來，在當代或許没人真有把握能確認哪個才是有價值的真實。

中學熱衷鄉土文化，沈迷在木刻版畫的樸實與深刻，善用學院的規格來詮釋那個充滿文學性和感性的故鄉。90年代進入北藝BFA，木雕刀換成電焊、砂輪機，視界從平面進入立體的金屬造形。喜歡日譯小說、法國電影、小劇場、現代芭蕾和歐美現代美術運動。欣賞劇場中的張力和舞蹈動態，也經常從表演藝術中，獲得創造視覺表現的啟發。感覺美學光譜在包羅萬象的當下世界，被立體地、寬容地伸展開來。

千禧年到紐約深造金屬專業。欣賞RIT實事求是的方法論，同時工藝學院MFA的訓練也奠定往後的思考邏輯和創作系統。但就金屬而言，漸漸成為創作形式中的一種可能，感覺雕塑創作的藍海會在科技進化中被推展開來。到韓國、澳洲駐村，喜好旅行和文化比較。10年在杭州國美的博論PhD試著書寫兩岸三地的現代金屬雕塑發展，但當時的同學已在參與建築形態創造，而自己則在做公共藝術。

作為來時路的反思與展望，20年在臺師大管院MBA學習設計思考和品牌市場。在造形美學幻化的世界裡，感覺當代工具和策略的應用，雖然推陳出新、潮流多變，但造形創造的意志與企圖，彷彿都是在回應創造者童年時對於未來世界的好奇。

I grew up in the 1970s in the small town of Lukang, a place steeped in folk crafts and temple fairs. The carved beams and painted buildings, wood carvings, stone carvings, bamboo art, and gold crafts in temples can often be seen in the homes of street craftsmen. As a result, I became a child who loved making things. As a schoolchild, I moved to metropolitan Taipei. In the 1980s, as martial law was nearing its end, I spent ten years in special art programs from elementary school through high school, experiencing the evolving social landscape and embracing American and Japanese pop culture. Essentially, I transitioned from “painting the world I imagined” to “painting the reality I saw.” Ultimately, however, perhaps no one in our time can truly determine what constitutes true and valuable reality.

In middle school, I was passionate about local culture, captivated by the simplicity and profoundness of woodblock prints. I skillfully used the academic standards to interpret the literary and emotional essence of my hometown. In the 1990s, I entered the Taipei National University of the Arts’ BFA program, swapping woodcarving knives for welding and grinding machines, and my vision shifted from two-dimensional to three-dimensional metal forms. I enjoy Japanese-translated novels, French films, small theater, modern ballet, and the European and American modern art movements. I appreciate the tension and dynamics of dance in the theater and often draw inspiration from performing arts for my creative visual expressions. I feel that the aesthetic spectrum is being expanded in a three-dimensional and inclusive way in our all-encompassing contemporary world.

At the turn of the millennium, I moved to New York to study metal sculpture. I admired RIT’s pragmatic approach, and my MFA training at the Polytechnic Institute also laid the foundation for my future thinking and creative systems. Metal gradually became a new form of artistic expression, and I felt that the vast ocean of sculptural creation would be expanded by technological advancements. I held residencies in South Korea and Australia, and I enjoy traveling and comparing cultures. During my PhD thesis at China Academy of Art in Hangzhou in 2010, I attempted to write about the development of modern metal sculpture in mainland China, Hong Kong, and Taiwan. However, my classmates were already involved in architectural form creation, while I was working on public art.

As a reflection and prospect on the path I’ve taken, in 2020 I studied design thinking and brand marketing in the MBA program at the School of Management at National Taiwan Normal University. In the ever-changing world of aesthetic form, I feel that the application of contemporary tools and strategies, while constantly evolving and constantly changing, the will and intention behind the creation of form seem to respond to the creator’s childhood curiosity about the future.