蘋果，愛麗絲，表面，抵達，( 我們 )是，陽極，角度，矛盾，救護車，任何人，暫時終止，任何時候，喚醒，附加物，疼痛，腳踝，建築學
2018,
appr. 75cm*10cm* 35cm
玻璃、保麗龍
glass, styrofoam
此件作品受到無意間被毀壞的作品所啟發，而引出一個對於當下思考的瞬間、對於藝術與世界的提問：為何「這」不可以就只是「這」？（總是必須透過「那」去描述？）
這是一個關於當下的當下 的作品。可能也是關於語言學、命名與存在的正負空間的思考。 我將印製有白色A與Ｅ的玻璃尺碎片為材料，中間隔一段距離放置在我以保麗龍製作的展台上，並以數個由Ａ開頭Ｅ結尾的單詞排列的字串，作為作品名稱。脆弱的保麗龍，保留展示之前的各種（不經意）過程的痕跡，如同我們更要留心的，是A到E之間的那段空白，而A與E僅僅是它本身，但整件作品（包括命名）卻在維持其自身的基礎上，描述了他們自身的另一個面貌。
* About the work: The core idea of this piece flashes in my mind while accidentally damaging an artwork: Why can't an object be an object itself? Why do we need something else to describe and identify an object? This artwork expresses the notion of the presence of presence. And probably, it also refers to the dialectical thinking of linguistics, taxonomy, rhetoric, semantics and pragmatic.
Walking into the exhibition, you will face with two broken glass pieces, printed a white A and white E respectively, displaying on a blue styrofoam shelf with some distance. The caption next to it printed on a long title: a composition of 17 vocabularies, starting with A and ending with E.
The blue styrofoam traces and shows the process of how this set is transformed from material to an artwork. It also reminds us to be more aware of the invisible details than the visible: the distance (negative space) between A and E (the spatial relation between this work and the venue), and the relationship between the fragment A, the fragment E and the title. This whole set, including the title, illustrate a new pictures of themselves under the ground of being themselves.