ARTIST BIOGRAPHY
藝術家簡介
我覺得藝術是自身對周圍世界的感知，用自己發自内心的感受為題材做出的作品，也能成爲溝通他人的橋梁。目前非常喜歡VR作爲藝術的媒介，同樣也喜歡玻璃，題材大多專注於自身的内心感受、社會、以及文化，作品多會圍繞這些媒介展開。
HONOURS PROJECT
畢業作品
私人領域
Virtual Reality
虛擬現實媒體
140 x 140 x 87 cm
A child has a small private space in a cramped home, only to find no true refuge. Behind glass walls loom parental eyes, doors crash open at will, and lack of communication and respect leads to more scolding. Walls meant to shield dissolve into spectral barriers. The more physical space opens, the further the psyche withdraws inward—escaping into a virtual space. Is this place a new sanctuary, or an empty illusion?
作者童年家庭經歷的具象化。孩子在窄小的家中擁有一個更小的「私人空間」，卻沒有任何隱私。玻璃的墻壁後是父母的眼睛，家長可以隨時破門而入，溝通的失敗和尊重的缺失換來更多的打駡，本該給予安全感的墻壁仿似無物。物理上的空間越開放，感性就躲進越深處，逃進虛擬空間中，這裏會是新的避難所嗎?還是只會讓人更感空虛的虛幻世界？
PREVIOUS WORK
過往作品
算命
VR Media, 2024, 11.25MB, 04/2024-05/2024
“The Eightfold Path” is an immersive work presented in a VR virtual space, inspired by the traditional Chinese custom of “zhuazhou.” In a dark virtual room, the audience selects paths through sounds from eight directions to enter rooms associated with the eight trigrams of the I Ching. The dark room symbolizes the inability of a newborn to autonomously determine their fate, relying instead on intuition and the guidance of surrounding sounds; the seal script character “目” (eye) on the ceiling metaphorically represents the intangible expectations society places on the next generation. The work critiques the superstitions surrounding fate and the social pressures within traditional culture, using the trigrams of the I Ching to metaphorically convey the vague and abstract collective expectations.
《算命》是一個以VR虛擬空間呈現的沉浸式作品，靈感源自中國傳統習俗「抓周」。觀眾在黑暗的虛擬暗室中，通過八個方向的聲音選擇路徑，進入帶有八卦屬性的房間。暗室象徵新生兒無法自主決定命運，只能依賴直覺與周遭聲音引導；天花板的篆書「目」字眼睛則隱喻社會對下一代的無形期望。作品批判傳統文化中對命運的迷信與社會壓力，並以《易經》卦象隱喻模糊而抽象的群體期待。
死魚眼
Photography, 2022, A4 x 5
This photographic series consists of five images, each featuring an arrangement of 16 lifeless fish eyes staring blankly at the viewer. These eyes symbolize not only the despair of the fish but also serve as a metaphor for the monotonous, repetitive labor prevalent in modern society. Through the imagery of salted fish and the mechanical repetition of the photographs, the work explores the lives of assembly line workers, the loss of dreams, and the silent struggles of the lower class. The fish eyes seem to whisper a haunting truth: in the endless cycle of cutting and repetition, the workers themselves gradually become the fish, stripped of vitality and individuality. This piece critiques the dehumanizing nature of industrialized labor while expressing personal anxiety and despair about potentially becoming part of this system in the future. It invites viewers to reflect on the mechanization of life and the alienation of humanity, posing a poignant question: Are we, too, unknowingly becoming the fish on the assembly line?
這組攝影作品由五張照片組成，每張照片中排列了16張死魚的眼睛，空洞而無表情地凝視著觀者。這些眼睛不僅是魚的絕望象徵，更是對現代社會中機械性重複勞動的隱喻。作品通過鹹魚的意象與照片的機械性排列，探討流水線工人、失去夢想的生活狀態，以及底層社會的無聲掙扎。魚的眼睛仿佛在訴說著：在不斷切割與重複的過程中，工人自己也逐漸變成了那條魚，失去了生命力與個性。這不僅是對當下社會結構的批判，也是對未來可能成為其中一員的自我焦慮與絕望的抒發。作品試圖喚起觀者對機械化生活與人性異化的反思，並質問：我們是否也在不知不覺中，成為了那條被擺在流水線上的魚？