身為鹿港子弟其實很難選邊，記憶中那些石雕、木雕、金工師傅那麼入神在做的作品，就是純粹的材質美。不過有時候參加競獎時，卻也經常在這兩個類別的選擇上猶豫。然而手邊在做的事，就我而言其實一直都是造形美學。

10年的國中小學美術班是我的學院基礎；北藝5年的現代美術思維及創作訓練，建構我的美術史觀和造形能力；而RIT的2年工藝方法訓練，強化我的作品完成度；國美5年則是再回到雕塑和公共藝術的美學思辨。

美術或工藝學院其實本身也隨著當代思潮和市場在轉變，動見之間往往也在Fine Art、Crafts 和Design的概念間或多或少相互影響。人心流變、市聲鼎沸，唯審美的感性始終靜謐如一。

As a native of Lukang, it’s actually quite difficult to choose sides. In my memory, the works created by stone carving, wood carving, and metalwork masters, so engrossed in their craft, are purely about the beauty of the materials. However, when participating in competitions, I often hesitate between these two categories. Yet, the work I’m currently doing has always been about the aesthetics of form.

Ten years of elementary and junior high school art classes laid the foundation for my academic studies; five years of modern art thinking and creative training at Taipei National University of the Arts built my view of art history and my ability to create forms; two years of craft training at RIT enhanced the completeness of my works; and five years at the China Academy of Art allowed me to return to aesthetic reflection on sculpture and public art.

Fine arts or craft colleges themselves are changing with contemporary trends and the market, and their movements often influence each other to varying degrees through the concepts of Fine Art, Crafts, and Design. Amidst the changing sentiments and bustling marketplace, the sensibility of aesthetic appreciation remains serene and constant.