新北市立黃金博物館

Objet trouve. Treasure of culture sites of industrial elements.
Locality unknown. Finding in the right place at the right time.
A technical product, bicycle-& machine chains, forged into layers, ingeniously bonded by sheer physical force, in context as a transformed expression of organic power – in spite of weight of material, the objects take on a new aesthetics of lightness with their gaps.
Because of heating and well-targeted action of force my bowls get a special into space reaching dynamic. It`s very important to me to play in my work with properties of material and make the most of it.

Objects are the reflection of the self.
Although we wander among lines, surfaces, and space,
as complete as they are, we never see it through.
Different outlooks exist in differential dimensions.
They stand individually, just in such a simple posture.

There are thousands of taste and smells recorded in the human brain, that are inflicted by visual memory. But these three senses will blur the usual interpretation when they react to one another. At that time, is smell reliable? I use a fruit with a full form to brew a pot of tea, making people feel the influence of the five senses when tasting it. The memory of smell of the fruit will be awakened, and surprise and conflicts will be brought forth at the same time.
This set of tea utensils in a mocking sense challenges people’s control of a sense of vision and of taste and in the meanwhile makes the activity of brewing tea more fun. The tea in a mouth might have a special flavor.

To Produce a vessel that combines traditional gold and silver smithing techniques with computer aided design (CAD), new technologies and materials. A visually arresting piece that shows excellent technique and composition.

This work makes a feature of the decorative band that encircles this mid-twentieth century silver plate. Aside from an aesthetic role, the rim of any plate is there principally to ensure that the contents thereon are guarded.
By putting the focus onto this motif, its function changes from edge, or border, to driver of form. Simultaneously, attention is drawn to the artistry and artisanship that gave rise to these iterations of a familiar pattern.
With Indonesia the plate’s likely origin, one can contemplate transmission of pattern motif, like pomegranate and acanthus leaf, to lands so far from the subjects’ origins.

I employ containers in modern life to portray the ways of our daily life. The paper box is pressed before being opened. It seems that all emotions can only be condensed inside the box. All paper boxes press one another, without exists that give people a breath. I attempt to express the demand of space in our daily life mentally and physically.

This artwork is inspired by my preference to cartoon animation. I was deeply attracted by the visual shock and subject-matters from them. My preference has continued to my adulthood, which inspires me to create imaginative virtual characters in the virtual world and to weave a self-imaginary story. I combine my imagination and idea to create and meet a character in my mind. By transforming my imagination, the elements in the story are brought forth through metal craft technique, which makes it actualizes and creates artworks in reality.

I create a volute corridor by connecting each cyclic structure wider at the top and weld a hollow cocoon with smooth lines on the top of the cyclic opening. The outer layer is dyed with saw dust and the inner layer maintains the skin color. The shell is like skins. After cutting open, layers of the clam is revealed. The clam is soft and takes no precautions. The winding layers creates the remotest gallery leading to the darkness of the border of the consciousness. The other elongated corridor along the brim of opening of the cocoon is made from electroforming wax film. The bottom of the outer layer of the cocoon is opened, corresponding to the upper volute corridor. It seems like a pathway to an exit of the body. There must be lights in the end.

We human has been bred and followed by social norms and the very first education for being social member is to adopt using spoon for managing to feed oneself. From using the spoon, man has been forced to grab a spoon with right hand because social members believe that ‘the right’ is correct and moral than ‘the left’. From an angle of prejudice of right and left, right hand is inscribed as a symbol of power, morality, and justice on the other hand the left is left as a meaning of darkness, fringe, and negative.
The work depicts allegorical story that satirizes ridiculous situation in human society. The descriptive meaning which is originated from the bitter satire on correlation between the spoon and the right hand figures out specific protagonists such as a grayed livestock standing on the floor of a church which seem to have symbolic contents. With the livestock domesticated and castrated their own characteristics by a cruel dictator, I awaken in you discrimination for the right and left and ponder over the fact that the spoon acts as a tool of castration for society.

This series focuses on medical implants, the body, and embodied experience. These hand-fabricated objects glorify the highly individual and personal nature of prosthesis and surgeries, while evoking notions of memento mori and the fragile nature of the human form. Using real medical implants as inspiration, I have re-invented and exaggerated these devices for imagined bodies. The intention is for viewers to consider their own physicality and to visualize the absent anatomies implied by the work.

The landscape in Taipei has changed dramatically in the 1980s. Skyscrapers rising up. The steel structure is rising up with a frenetic tempo and along with the sky to calculate the interweaving of new territories. The reality of modern urban life is about speed controlling human beings. Time and space seems to be changed and twisted by invisible forces. With the coming of new freedom, peoples are suspended and staggering. This metamorphosis throws us out to the edge. The style of the artwork is inspired by a sense of uncertainty in the city. By dissecting yellow bronze bars into a small unit, welding and building them up, the bars are disfigured and distorted by heat. The surface is dealt with by gradient dyeing, which reinforces the visual effect of longitudinal sense and stepwise change.

We are tender, passionate, and somewhat fragile;
We are strong and active, even though there is danger in the forest everywhere.
We still pass through every season,
And live actively in every stage of life.