在灰階之間構築感知的語言
在創作思考上位於東方水墨精神與西方當代藝術語境之間，並非以並置或模仿的方式存在，而是在材質、結構與觀看經驗上建立了一種新的中介空間。以石墨為主要媒材，經由層層堆疊、留黑亦是留白的方式，形成如水墨般的呼吸感，同時呼應著西方現代繪畫對平面結構與形式控制的自覺。
在當代藝術脈絡中，此次創作並不依附於單一的文化傳統，而是將不同文化的繪畫語彙轉化為一種開放的視覺經驗。這種開放性來自於處理方式：筆觸在畫面上既是痕跡，也是時間的存檔；留白不僅是空間的缺席，更是觀者介入與思考的場域。作品因此呈現一種「可進入性」——觀者能以自身的感知、記憶與情感，重新構築畫面的內在結構。
對於石墨媒材的運用，透過物質特性的探索，將媒材轉化為一種哲學性的感知裝置。在光線的變化下，畫面並非靜態，而是產生微妙的流動與層次，形成動態的觀看關係。這種對光、質地與時間感的敏銳處理，使作品在東方的氣韻觀與西方的空間構成之間找到平衡，同時也回應了當代藝術中對「觀看條件」的反思。
在藝術史的長線中，東方與西方現代繪畫曾分屬不同的感知體系，而希望透過創作在此形成一個交匯點，提出另一種可能性，同時將東方的時間性與留白哲學，以及西方對物質與形構的研究結合，產生新的視覺語法。創造一個能夠容納不確定與模糊的場域，使作品本身成為一種關於「觀看與被觀看」的動態實驗。
介於文化與形式之間的創作，減少被單一框架定義，也不追求純粹的風格歸屬，而是透過實踐過程中，不斷調整觀看的距離與方式，因此使作品既是視覺語言的延伸，也與當代藝術在全球語境中持續發生對話。
 
 
 
 
 
Constructing a Language of Perception in Shades of Gray
Positioned between the spirit of Eastern ink painting and the discourse of Western contemporary art, this body of work does not exist through simple juxtaposition or imitation. Instead, it establishes a new mediating space through material, structure, and the conditions of viewing. Graphite serves as the primary medium, built through layers of accumulation and a practice where leaving black is also leaving blank—producing a breath-like quality akin to ink wash, while simultaneously resonating with Western modern painting’s formal awareness of the picture plane and compositional control.
Within the context of contemporary art, the work does not adhere to a single cultural tradition, but transforms the painterly vocabularies of different cultures into an open-ended visual experience. This openness emerges from its approach: the mark on the surface is both a trace and an archive of time; the blank space is not merely an absence but a site for the viewer’s engagement and contemplation. As a result, the work possesses an “enterable” quality—inviting viewers to reconstruct its inner structure through their own perception, memory, and emotion.
Through an exploration of the material properties of graphite, the medium becomes a philosophical apparatus for perception. Under shifting light, the surface is never static—it reveals subtle flows and tonal gradations, forming a dynamic relationship between the work and its beholder. This sensitivity to light, texture, and temporal rhythm creates a balance between the Eastern ethos of qi yun (spiritual resonance) and Western approaches to spatial construction, while also engaging with contemporary art’s reflection on the “conditions of seeing.”
In the longer trajectory of art history, Eastern painting and Western modernism have occupied distinct perceptual systems. This practice seeks to create a point of convergence, proposing an alternative possibility that unites the temporal sensibility and spatial philosophy of the East with the Western investigation of materiality and form—generating a new visual syntax. The works create a space that accommodates ambiguity and indeterminacy, turning the act of painting into a dynamic experiment in “seeing and being seen.”
Situated between culture and form, the practice resists confinement within a single framework or the pursuit of stylistic purity. Instead, it operates through an ongoing process of adjusting distances and modes of viewing. As such, the works become both an extension of a personal visual language and an active participant in the continuing dialogue of contemporary art within a global context.