My creative focus lies in using fiber imagery and painting as carriers to capture urban landscapes. Through the repetitive stacking of materials with temporal qualities and painting materials, I aim to depict both the clear and blurry perspectives of life. When viewers browse through the artwork, they connect their own experiences with familiar urban landscape images, imagining meanings and relationships inside and outside the frames of painting and fiber imagery.

Many people say "to see the scenery," which literally means to appreciate, observe, casually glance at, admire the scenery in front of one's eyes, or gaze at the present scene. However, some may not actually be looking at the scenery but merely gazing into the distance, and so on. "Scenery" is generally defined as natural scenery, the beauty of nature. As artistic content, landscape is not a simple existence; it embodies humanity's exploration of nature. When facing a landscape painting, one can see the diversity in styles, languages, and forms, interpreting the aesthetic concepts and cultural trajectories hidden behind it.

Creative Concept

Many people say "to see the scenery," which literally means to appreciate, observe, casually glance at, admire the scenery in front of one's eyes, or gaze at the present scene. However, some may not actually be looking at the scenery but merely gazing into the distance, and so on. "Scenery" is generally defined as natural scenery, the beauty of nature. As artistic content, landscape is not a simple existence; it embodies humanity's exploration of nature. When facing a landscape painting, one can see the diversity in styles, languages, and forms, interpreting the aesthetic concepts and cultural trajectories hidden behind it.

"Urban Daily Series"

After accumulating a period of creative time, the "window" has invisibly become an important role in my work. In my creation, I position field investigation actions on myself. As my body moves, I record the urban landscapes I see. Rather than saying I am looking at the scenery, it is more accurate to say I experience the scenery within the scenery. Buildings in the picture dissolve in the misty rain scene, and images gradually disappear as transportation moves. Similar to urban renewal and the elevation of railways, traces of buildings and people's existence will disappear.

"Backside Landscape Series"

The "backside of houses" located on both sides of the railway station, with the economic prosperity and decline of the railway station, has a different urban landscape. Rain falls, and buildings dissolve into the scenery; images disappear during the movement of transportation. With urban renewal, elevated railways, and underground developments, these once existing urban landscapes will soon disappear. Paper fibers and cotton fluff are like suspended particles in the air, scattered in the cities where we live.

I found in the process of viewing that the "scenery window" is essentially composed of many windows. I look through my own window at other people's windows, seeing and not seeing myself in the city. When riding transportation, I look at the scenery outside the window, especially compared to the bright and new high-rise buildings. The "backside of houses" located on both sides of the railway station has stacked containers, stairs with complex pipelines on the wall, drying areas that expand beyond the original building range, secret bases where personal items are stacked and stored, and other urban residual materials, forming the "backside landscape". However, with urban renewal, elevated railways, and underground developments, these once existing urban landscapes will soon disappear.

These non-conforming buildings constructed from urban residual materials give vitality to the urban landscape filled with high-rise buildings. The peeling paint on the door frames, rusty iron windows, and other reactants over time are all real states of chemical changes between old objects, air, and time. I am deeply attracted to these urban residual materials.

People live in cities and buildings, using eyes or cameras as a window to view urban landscapes. Walking on the streets, you can see urban buildings and become a part of the urban landscape; living in buildings, you can view the urban landscape outside buildings through iron windows and railings. In my work, I use paper fiber as a medium, viewing fiber materials as a carrier to carry memory images; I use painting to outline the contours of urban buildings, depicting both clear and blurry perspectives of life.

I think that when riding a train, the moment the carriage door opens is like entering an entrance to a different area, exploring the different stories between the alleys of buildings. I view urban landscapes along the way and create the "Backside Landscape" series in the form of fiber images and paintings.

Through the camera, I observe and capture the daily scenery of life as images. Images are representations of memories, and collages and compositions are reproductions of images, reimagining memories and reality, depicting my urban landscape.

"Sketching Urban Series"

I capture images of urban scenery taken while commuting in Taipei, presenting the sense of speed outside the car window and the vaguely remembered urban landscape memory in my mind. Hand-embroidered landscapes create swaying and blurred images of lines and images, resembling memories about to disappear in the mind, intersecting to create new imaginative spaces. Multiple layers of fiber images overlap and displace each other, like mixed thoughts and memories in the mind.

"1.85 Seconds"

This series of works focuses on recording shutter time, not only conveying and reproducing beautiful scenery, but also surpassing nature controlled by photography, returning visual language to the images in people's minds, and communicating with urban landscapes. In this era of high speed, the daily life of commuting to and from work by transportation tools continues to circulate, and the urban landscapes on the road also evolve with the trend.

"Temporary Stay in the City"

The "Temporary Stay in the City" series consists of four pieces, all taken from the cityscape outside the bus window while the author was traveling in the north. The clear and blurry images of the buildings in the work present a sense of speed, a sense of body movement in the shaking of the car body, and the memory of the urban landscape vaguely remembered in the mind. The scenes in the work continue to move, such as when taking a bus, the image of the vehicle in front of the window is constantly retreating, creating a temporary effect of speed and image retention.

Looking at the work from afar, the picture contains conflicting scenes of both clarity and blur. The clear parts are embroidered and stitched by hand, outlining the building contours on the cloth surface; the blurry parts are presented by transferring images on the cloth surface. Looking closely at the work, light enters between the fabric and the wire, stacking up "virtual" space, with light and shadow flowing through it, and the threads and images repeating and stacking to connect, imagining the urban landscape.

After the cloth surface and embroidered layers overlap, the clear and blurry urban landscape, like the memory about to disappear in the mind, the author tries to outline the clear building contours with embroidery to record the blurry memory. The "Temporary Stay in the City" series consists of four pieces, each using four colors to symbolize the traces of life.