Installation (facial mask, fabric stiffener, light)
Dimensions Variable
2011

裝置(面膜、膠、燈光)
尺寸依場地變化
2011

Installation (rope, dye pigment, fabric, fishing wire)
Dimensions Variable
2007

傳統中國以結繩記事，我繩結無數大小不同的繩索，聚集成一個巨大的結，象徵許多的記憶，同時也不斷地解開繩索，形成一種凝重與分散的強烈對比。
裝置(繩索、染劑)
尺寸變化
2007

In this installation, the twisted and wrinkled mask is not only the symbol of a cell or cell membrane, but also the metaphor for my negative expression and emotion. Moreover, the mask has the meaning of covering and concealing for me. Whenever I feel frustrated, I would like to hide and cover myself, but I still want to see out through the holes. It appears that my potential melancholy cell and potential anxious, fearful, and struggling emotions which are covered by my huddled body have fallen down and spread out on the floor.
Installation (facial mask, fabric stiffener)
Size: 224×120×34 inches (560×300×88cm)
2006

裝置 (面膜、膠)
224×120×34 inches (560×300×88cm)
2006

Installation (facial mask, ink, fabric stiffener)
Size: 70×66 & 42×48 inches (175×165 & 105×120cm)
2006

裝置 (面膜、膠、染劑)
175×165 cm & 105×120 cm
2006

My installations present layers of contradiction and vulnerability from my life experiences. My sculptures represent the structure of organic form and reveal the link between body and mind. I create a space which seems like my body, my inner world with a boundary between inside and outside. The surface which looks like a lace surface attracts the viewer’s attention and invites one to get close, walk through, be surrounded by the thin walls, and have a dialogue. It simultaneously holds an imaginary space for me only. It looks like a soft surface, but actually it is hard and serves as a symbol of the fragility of life.
The concepts in my work are supported by hundreds of facial masks possessing a fragile tactile character. I transform the twisted, wrinkled, and screaming expression of the facial mask to the metaphor of my potential melancholy, fear, and struggle. The stiffened material expresses a kind of pain and anxiety under the appearance of beauty.
Installation (facial mask, fabric stiffener)
Dimensions Variable
2006

數百張的面膜構成一道內與外之間的界限，形成一個帶有想像的空間，觀者可以靠近且走入此空間與作品對話。一張張看似柔軟且帶有蕾絲質感的面膜，其實是一張張硬化後被扭曲、掙扎、吶喊的臉孔表情，隱喻一種潛在於美麗外表之下的焦慮與恐懼。
裝置(面膜、膠、燈光)
尺寸變化
2006

The transparency of the material which people can look through makes it a metaphor for the innocence of a baby, and the origin of life, and the round shape can symbolize cells, genes, a part of the mother’s body, and the cycle of life.
During the process of creating artwork, I often introspect my growing up background and childhood time. Especially, when I feel frustrated, I always long to go back to my origins to restart, since it seems like going back to the beginning of life, the mother’s womb, and the simple happy childhood without troubles. Furthermore, it is also like salmons which have a homing instinct that draws them back to spawn in the river of their birth after 1-3 years in the sea. I long to return to the primordial ocean where original life comes from.
Installation (resin, liquid plastic, hair, wool, decorative gem, mirror, foam, push light, fabric, sound mix)
Size: 96×96x11 inches (240x240x28cm)
2006

創作的過程中，經常會回首自己的成長背景檢視自我，我總是嚮往可以回到最初的單純，就像是生命的原點，猶如鮭魚有歸巢的本能。一個個的半透明發光半圓球體象徵生命的起始過程，觀者可以走進作品，彷彿回到母體般。最原始的生命起源於大海，海邊的裝置更呈現了對於回朔到最原始生命的渴望。
裝置 (複合媒材、聲音混合)
240x240x30 cm
2006

Installation (resin, liquid plastic, ink, wool, light box, felt)
Size: 12x13x3 inches (30x32.5x7.5 cm)
2006

複合媒材
33×33×13cm
2006

I take the white round shape of the foam cup as cell or organization in my body. The whole piece is like my cell or myself parasitizing in the corner of the building. It seems that a foreign individual parasites here and attempts to spread and extend its power. It looks quiet, but its inner emotion is anxious, nervous and restless. Whenever I feel frustrated, I tend to hide myself in the corner. The sculpture can be the metaphor of me who hope people get closer and listen to its inner voice.
Installation (foam cup, hot glue, red light, sunset light, sound mix)
Size:113×90×84 inches (282×225×210cm)
2005

我將一個個的白色圓形保麗龍杯視為單個的細胞形體，集合四千多個保麗龍杯在建築物的牆腳裝置一個大型的身體細胞，猶如一個寄生在建築物裡的細胞組織不斷地擴張、蔓延，看似安靜的結構，內在卻隱藏著一種焦慮與不安的情緒。
裝置 (保麗龍杯, 熱熔膠, 紅燈, 聲音混合)
約290×230×210 cm
2005

Mixed-Media (foam cup, hot glue, fiber glass, nail, thumbtack)
Size: 33X25X22 inches （82.5x62.5x55 cm） (Size Variable)
2005

複合媒材(保麗龍杯, 玻璃纖維, 圖釘)
83×63×55cm
2005

This work is like my body－a female body. I hope people can walk into my body, experience and realize my inner feelings. The soft and stretchable fabric can be a metaphor of my body and my cell. Stretched, twisted and penetrated cells symbolize my struggle and contradictory feelings in my life and the feeling of being a female. It looks charming and alluring, but there is a little painful feeling hidden in the back.
Installation (stretchable fabric, fishing wire, red light)
Size of the Interior: 116×137×137 inches (343×343×290cm)

2005

柔軟有彈性的布料象徵女性或是神經細胞，透過拉扯、扭曲、互相穿透的方式，將整個空間包覆並且蔓延，觀眾走進此空間猶如走近身體或是另一個內在的世界，看似親近、柔軟的布料透過拉扯、扭曲卻變得尖銳，讓人畏懼，象徵一種內心的矛盾。
裝置 (彈性布、釣魚線、紅燈)
尺寸變化
2005

Whenever walking through the hallway in Alexander Hall (my department building at Savannah College of Art and Design), I was so fascinated by the light projected on the wall. I tried to combine the natural light and time with my potential cell－a series of my work with lines. I used glossy color to create my potential cells and the struggling figures on the windows that can be the symbol of me who is nostalgic. I took the white wall as my canvas and my lines and figures projected on the wall would change, vary and move by different time from the floor to the wall. It seems that I am nostalgic and miss my family and friends in my home country in Taiwan all the time.
Installation (glossy color, natural light, time)
Size of Each Window:43×78 inches (108×196cm) , Size of the Wall:272×96 inches (680×240cm)
2005

每當走過工作室前的迴廊時，總是被投映在牆上的光線變化深深吸引。我以自然光和時間與我的潛在因子系列作品結合，繪至於玻璃上的半透明藍色調線條，組成有如細胞狀或是掙扎、捲曲的半抽象人形，表達個人的思鄉情緒。我將窗前的白色牆面視為我的畫布，隨著時間和光線的變化，在玻璃窗上的半透明藍色調線條也隨著改變移動。
裝置 (透明顏料、自然光、時間)
地點: 美國莎凡納藝術設計學院Alexander Hall
尺寸變化（每一扇窗: 108×196 cm 牆:680×240 cm）
2005

The soft material in this work is also the metaphor of my cells or a part of a female’s body. I just used the white and the black to express contradictory and ambivalent feelings. I stretched and pulled black and white silk socks and make them bind, pierce through, and intersect with each other. It seems that my ambivalent emotions are entangled and collide with each other.
Installation (silk socks, fishing wire)
Size: 68×25×20 inches (145×50×170cm)
2004

裝置(絲襪, 釣魚線)
145×50×170cm
2004