"Sauntering" are the paintings series works arose during the pandemic as I idly strolled through the mountain valley countryside where I reside, closely observing the flowers, grasses, bamboo groves, and forests. Through this, I experienced the inherent beauty of nature and used depicting flowers as a way to de-stress and shift my focus away from the social anxieties of the pandemic. Simultaneously, I observed the constant state of dynamic contrast within all things in nature.
Flowers and bamboo are objects that move with the wind and change with the seasons, while the changes in stones are relatively minimal, and their appearance transforms over much longer periods. Therefore, there is a contrast between stones and plants in terms of the length of their changes over time, as well as the contrast between the stillness of stones and the movement of bamboo (and flowers).
Employing the materials of cyan paper and white ink, I created a contrast in tone, also reversing the traditional concept of negative space in classical landscape painting, which favored black ink on white paper, 'treating white as black.' Through the interplay of yin and yang and the contrast between stillness and movement, I expressed the inherent order within nature.
《閑步集》是疫情期間，閒步我居住之山谷鄉野中，近身關注花草竹林，以此感受大自然內蘊之美，藉描繪花卉自我舒壓，轉移疫情時對社會不安的關注。同時觀察自然萬物具有動靜對比的常態。
花、竹都是隨風而動、隨時間季節變化的物件，而石頭的變動就相對極微、樣貌改變時間更長，因此石與植物在時間長短變化上、石靜竹（花）動上，都具有對比性。
使用瓷青紙與白墨液材質，進行對比反差，亦將古典山水畫喜以白紙黑墨、「計白當黑」的傳統留白觀點顛倒過來 。以陰陽相襯、靜動的對比，表現自然中的規律。
Flowers and bamboo are objects that move with the wind and change with the seasons, while the changes in stones are relatively minimal, and their appearance transforms over much longer periods. Therefore, there is a contrast between stones and plants in terms of the length of their changes over time, as well as the contrast between the stillness of stones and the movement of bamboo (and flowers).
Employing the materials of cyan paper and white ink, I created a contrast in tone, also reversing the traditional concept of negative space in classical landscape painting, which favored black ink on white paper, 'treating white as black.' Through the interplay of yin and yang and the contrast between stillness and movement, I expressed the inherent order within nature.
《閑步集》是疫情期間，閒步我居住之山谷鄉野中，近身關注花草竹林，以此感受大自然內蘊之美，藉描繪花卉自我舒壓，轉移疫情時對社會不安的關注。同時觀察自然萬物具有動靜對比的常態。
花、竹都是隨風而動、隨時間季節變化的物件，而石頭的變動就相對極微、樣貌改變時間更長，因此石與植物在時間長短變化上、石靜竹（花）動上，都具有對比性。
使用瓷青紙與白墨液材質，進行對比反差，亦將古典山水畫喜以白紙黑墨、「計白當黑」的傳統留白觀點顛倒過來 。以陰陽相襯、靜動的對比，表現自然中的規律。
Bamboo and Stone No.1
《竹石圖No.1》 Japanese white ink and Japanese golden ink on porcelain green paper 日本白墨液、日本金墨液、瓷青宣 101x70cm 2020 |
One Stone, One World.
《一石即世界》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 141x77cm 2023 |
Bamboo and Stone on a Snowy Night
《雪夜竹石圖》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 135.5x70cm 2022 |
One Flower, One World. No.2
《一花一世界No.2》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 138x70cm 2023 |
Bamboo and Stone No.1
《竹石圖No.1》 Japanese white ink and Japanese golden ink on porcelain green paper 日本白墨液、日本金墨液、瓷青紙 101x70cm 2020 |
Lily and Stone
《荷與石》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 141x37cm 2023 |
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Stable and Transmutation
《石靜花動》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 138x70cm 2023 |
The Bamboo’s Sound in Windy Night
《夜聽竹打風》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 138x70cm 2023 |
Motion and Stillness
《動與靜》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 138x70cm 2023 |
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Bamboo and Stone No. 6
《竹石圖No.6》 Japanese white ink and Japanese golden ink on porcelain green paper 日本白墨液、日本金墨液、瓷青紙 66x133cm 2023 |
Camellia Smiles in the Spring
《山茶笑春風》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 75.5x66cm 2023 |
Bamboo and Stone No.4
《竹石圖No.4》 Japanese white ink on porcelain green paper 日本白墨液．瓷青宣 69x73cm 2023 |