My work explores objects in a liminal state between memory and reality, utility and futility, softness and hardness. We are suspended in the narrow gap between childhood and destiny: unable to settle into the past, nor steady ourselves upon a future built from chance. 

Through the process of firing ceramic slip, I seek to capture the contradictory yet fused relationship between cotton rope and clay: one material is pliant and ephemeral, the other is rigid and enduring. 

Coexisting within a single form, they resemble the intersection of memory and future—always fraught with doubt, drifting between the tangible and the intangible. These works originate from my daily state of seated contemplation, where the chair becomes a vessel for my thoughts, and seemingly ordinary, often overlooked objects reveal a glimmer of poetry and philosophy. 

This work is a poetic exploration of the lively and graceful nature of cat: expressed through calligraphy inspired by the styles of Wang Xizhi and Zhi Yunming. The poem captures the essence of a cat’s behavior—its regal lounging in sunlight, curious gaze, and playful movements as it chases insects and birds. 

Through these verses, I convey my deep affection and admiration for cats, appreciating their elegance and the joy they bring into our lives. The calligraphy complements the poem’s content, The style of the pen and font change depend on the content of each sentence, just like watching the dynamic and static changes of cats. This work is a heartfelt tribute to the companionship and happiness that cats offer, reflecting my wish to share life with them. 

It is akin to a small diary of my daily life, using observations of cats as the main subject to record and express my emotions—gentle, elegant, understated, and a bit of unconventionality. 

本作品以任伯年《三友圖》為精神母題，重構當代青年聚會的精神場景。畫面中，黑膠唱機、Nirvana唱片、手機與相機等符號，取代了傳統文人的卷軸與書香，成為新時代的「友誼信物」。 

畫中人物或執手機、或持相機，在虛擬與現實的邊界間流動，而貓咪與吉他則構成了私密空間的溫柔注腳。這不僅是對傳統文人雅集的當代轉譯，更是對數位時代青年精神狀態的詩性凝視：我們在電子訊號的洪流中，依然尋求著屬於這個時代的「知己」與「意境」。