My practice explores the relationship between materiality, nature, and migration, seeking to reveal the invisible forces that continuously shape the world around us. Rather than focusing on static objects, I am interested in how forms are continually transformed through the interaction of time, environment, and unseen forces. For me, migration extends beyond my own experience of immigration; it is a fundamental condition of both human life and the natural world. From drifting clouds and changing seasons to the transformation of matter itself, the world exists in a constant state of movement and becoming. Humanity, likewise, is continually reshaped through its movement across places, cultures, and different stages of life.
Having lived in France for over fifteen years, I have spent much of my life moving between Europe and Asia. Air travel has become a recurring part of my existence, and the endless cloudscapes seen through the aircraft window have become landscapes of reflection. Each journey prompts me to reconsider the relationships between people and place, culture, memory, and belonging. Immigration is not simply a geographical relocation; it transforms the way one perceives the world. These experiences led me to question whether the migration of people and the continual movement found throughout nature might share a common rhythm, ultimately inspiring me to search for a visual language capable of expressing this condition.
Through ongoing material research, I discovered that expanding polyurethane foam possesses qualities remarkably similar to the generative processes found in nature. What fascinates me is not its resemblance to clouds, but its capacity for transformation. Influenced by gravity, temperature, time, and chemical reactions, the material continually evolves beyond the artist’s complete control. Rather than imposing authority over the material, I work in collaboration with it, allowing the artwork to emerge through the interaction between artistic intention, material agency, and natural forces. Over years of experimentation, polyurethane foam has gradually evolved into my distinctive artistic language, leading me to understand artistic practice not as the construction of form, but as an ongoing process of transformation.
Alongside material-based practice, I continue to investigate light, projection, digital imaging, and AI-generated processes. Whether through chemically generated forms, algorithmically generated imagery, or the transformation of light within space, my interest lies not in technology itself, but in the processes through which forms come into being and reshape our ways of seeing, understanding, and experiencing the world. For me, material, technology, and nature are not opposing forces, but interconnected participants in the continual formation and transformation of reality.
Living in Paris has profoundly influenced my artistic thinking through its traditions of abstraction, conceptual inquiry, material experimentation, and process-based practice. At the same time, my work remains deeply rooted in East Asian aesthetics. The gestural rhythm, spatial sensibility, and expressive energy of East Asian calligraphy, together with the Japanese appreciation for craftsmanship, material integrity, time, and attentive making, continue to shape my artistic approach. Rather than viewing Eastern and Western traditions as opposing cultural systems, I see them as complementary perspectives that enrich one another through continuous dialogue.
I believe that art is not a means of representing the world, but of making its invisible forces perceptible. My work does not seek to provide definitive answers. Instead, through the transformation of materials, the movement of light, the generation of space, and the intertwining of human migration with the rhythms of nature, I invite viewers to look again. Within the continuous processes of migration and transformation, my practice asks how we might rediscover ourselves, reconsider our relationship with the world, and reimagine our connections with nature, culture, technology, and one another.
創作自述（Artist Statement）
我的創作圍繞著物質、自然與遷徙（Migration）之間的關係，探索那些看不見卻持續塑造世界的力量。我關注的並非靜止的事物，而是它們如何在時間、環境與不同力量的作用下持續轉化（Transformation）。對我而言，遷徙不僅來自自身的移民經驗，也存在於自然萬物之中。從雲層的漂移、季節的更迭，到物質的生成與轉化，世界始終處於流動與變化之中，而人亦在不同土地、文化與生命階段之間不斷重新理解自己與世界。
旅居法國十五年，使我長期生活於歐洲與亞洲兩種文化之間，也讓飛機上的旅程成為生命的一部分。每當穿越雲層，凝視窗外無邊無際的雲海，我總會思考人與土地、文化、記憶及歸屬之間的關係。移民帶來的不只是地理位置的改變，更改變了一個人觀看世界的方式。這段生命經驗，使我開始思考人類的遷徙與自然界持續流動之間是否存在著共同的節奏，也引導我尋找一種能夠承載這種狀態的創作語言。
在持續的材料研究中，我發現聚氨酯發泡材料在膨脹、凝固與轉化的過程中，展現出與自然極為相似的特質。真正吸引我的並非它對雲層形態的模仿，而是材料本身所具有的自主性與生成能力。它受到重力、溫度、時間及化學反應等不同力量影響，在創作過程中持續演變，發展出超越藝術家完全控制的結果。我選擇與材料共同工作，而非支配材料，讓創作成為藝術家、材料與自然力量共同作用的過程。多年來，聚氨酯發泡材料逐漸發展成我獨特的藝術語言，也讓我重新思考創作不只是形式的建構，而是一場持續發生的轉化。
除了材料本身，我亦持續研究光、投影、數位影像及人工智慧生成等不同媒介。無論是化學反應形成的物質形態、演算法生成的影像，或光影在空間中的變化，我關注的始終不是技術本身，而是各種「生成」與「轉化」如何發生，以及它們如何改變我們觀看、理解與感知世界的方式。對我而言，材料、科技與自然並非彼此對立，而是在不同層面共同參與世界的形成與演變。
旅居巴黎的經歷，使我深受法國當代藝術對抽象、概念思考、材料實驗及創作過程的啟發；而東亞文化則持續塑造著我的觀看方式。東亞書法所蘊含的筆勢、節奏、留白與氣韻，日本工藝對材料、時間、手作與細節的尊重，以及東方對自然的哲學觀，共同影響著我的創作。我並不將東方與西方視為彼此對立的文化，而是在兩者之間持續對話，讓不同文化背景、藝術傳統與思考方式相互滋養，形成屬於自己的創作方法。
我相信，藝術並非再現世界，而是讓那些平日難以察覺的力量變得可見。我的作品不試圖提供既定的答案，而是透過材料的轉化、光影的流動、空間的生成，以及人類移民與自然遷徙彼此交織的過程，邀請觀者重新觀看世界。在持續的遷徙與轉化之中，我所關心的並非尋找固定的答案，而是人如何重新理解自己、重新理解世界，並重新建立與自然、文化、科技及他者之間不斷演變的連結。