Chan Sik Yu (Theseus) works between craft and contemporary art through a minimalist practice in ceramics, jewelry, and found objects. He probes personal emotion through material experimentation, confronting negativity via self-inquiry while testing the interplay of chance and control in clay, glaze, and texture. 

Influenced by Wabi-Sabi's embrace of imperfection, impermanence, and trace, he privileges sensory experience over explanation, allowing the rhythms of material, form, and scale to invite quiet observation. Evolving from wearables to spatial narratives, he seeks a balance between technical precision and emotional clarity, moving toward greater narrative legibility in experimental ceramics. 

陳式愉以極簡為旨的實踐，融合陶瓷、飾品與現成物，藉此探尋個人情感與材料實驗。他透過自我提問直面負面情緒，同時在泥土、釉藥與紋理中考驗偶然與控制之間的關係；其創作亦從可佩戴的作品逐步發展為空間敘事，在技術精準與情感清晰之間取得平衡，並以在實驗性陶藝中朝向更清晰的敘事可讀性為目標。 

受侘寂美學中對不完美、無常與痕跡的讚頌所啟發，他將感官經驗置於明確闡釋之前，讓材質、形狀與尺度的節奏引導安靜的觀察。