2017
火墨．郭熙《早春圖》No. 2
「火墨」的行為裝置作品，透過儀式性的現場行為創作與祭祀性的裝置型式，隱喻著當代生存者佇立在古典水墨的勝景灰燼中，既是對歷史變遷進行唏噓奠祭，亦是透過行為讓「火墨」的觀念性更具有身體性與在場性。
Through presented a performance/installation piece from the “Fiery Ink” series where she conducts a ritualistic performance that brings forth an installation in the form of worship, as a metaphor for the modern-day survivor surrounded by the remains of what was once transcendental, lamenting the bygone shanshui and the unrelenting passage of time.
Through presented a performance/installation piece from the “Fiery Ink” series where she conducts a ritualistic performance that brings forth an installation in the form of worship, as a metaphor for the modern-day survivor surrounded by the remains of what was once transcendental, lamenting the bygone shanshui and the unrelenting passage of time.
火墨．郭熙《早春圖》No. 2 展覽現場與創作行為
Fiery Ink, Displacing Guo Xi's Early Spring, No.2
Performance and Installation in Tina Keng Gallery
Fiery Ink, Displacing Guo Xi's Early Spring, No.2
Performance and Installation in Tina Keng Gallery
2015 /12月火墨作品首次發表 Fiery Ink first published
火墨˙郭熙早春圖no.1,
Fiery Ink, Replacing The Guo Xi 's Early Spring, No.1
2015
北京中央美術學院七號樓現地創作暨聯展現場
First time created Fiery Ink work in BeiJing
Central Academy of Fine Art（CAFA）and joint exhibition.
First time created Fiery Ink work in BeiJing
Central Academy of Fine Art（CAFA）and joint exhibition.
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火墨．郭熙《早春圖》no.1裝置與行為表演
Fiery Ink, Replacing The Guo Xi 's Early Spring, No.1 , performance and stallation
宣紙，灼宣紙炭灰，灼宣紙捲，輸出圖片
Paper ash on Chinese hand made paper, digital print, and paper rolls on the ground
Fiery Ink, Replacing The Guo Xi 's Early Spring, No.1 , performance and stallation
宣紙，灼宣紙炭灰，灼宣紙捲，輸出圖片
Paper ash on Chinese hand made paper, digital print, and paper rolls on the ground
