高雄市文化中心～至上館

It feels as though everything has been quietly arranged by fate, leaving me little room for idleness. Shortly after the Mi Ma Yang exhibition came to an end, another significant challenge followed—an exhibition at the Supreme Hall on the second floor of the Kaohsiung City Bureau of Cultural Affairs.

This succession of exhibitions has often left me feeling breathless. Yet, two years of near-seclusion have allowed my work to mature, while also teaching me how to adapt and prepare a substantial body of work within the confines of a small studio. More importantly, this period compelled me to re-examine my understanding of what painting truly means.

Since choosing the path of creation, I have been searching for a connection between blocks of color and life itself. Thus far, the answers I find consistently emerge from within—my emotions and the unfolding of my own life journey. Perhaps this inward gaze has become the most indelible aspect of my practice. At the same time, I am aware that my experiences and perspectives remain limited.

I therefore aspire to step beyond Taiwan and engage with the world, to expand my horizons and deepen the breadth and complexity of my work. In future exhibitions, I intend to forgo formal opening receptions. Only when I feel sufficiently mature will I invite close friends to gather over tea, meeting face to face to reflect and converse about my creative process.

覺得老天爺好像把事情都安排好了，不希望我太閒，米馬羊展覽之後又一個大的挑戰，高雄市文化局二樓至上廳的展覽。這相繼而來的展覽，把自己逼得喘不過氣來，不過連續閉關了兩年除了讓自己的作品更加成熟之外，也讓自己了解如何靈活的在我那狹小的空間裡準備的這麼多展覽的作品。更重新思考我對於繪畫的定義。走向創作之後，我一直在尋求如何從色塊和生命之間找到自己的連結，結果目前的答案一直是自我內在的情緒，生命的歷程。或許這是令我最刻苦銘心的事情，另外一個原因是自己的見聞不夠寬廣。所以期待自己能走出台灣到世界各國增廣見聞，增加自己創作的深度與廣度。後續我的創作展覽將盡量不舉辦開幕式，等待自己覺得夠成熟的時候，再以茶會的樣貌和好朋友面對面討論自己創作的歷程。