The main thread of my practice bonds with the concept of temporality. Throughout these works, our relationships with time and process are approached or provoked by multiple means.
I am not the children of mountain, nor of ocean; I am something in between. I come from an island but am not more of an islander than city folk. Perhaps that is why Scottish landscape is so mysterious and distant to me. During my two years in Scotland, I have stood at the edge of cliff, sit in a forest full of moss, and slipped on snow in early spring. There is no resemblance between the natural environment here and my subtropical homeland Taiwan. However, as a total stranger, I get to view Scottish land and water in a fresh perspective. The development of my practice runs along with the shifting of my inner status as I gradually dwell myself in the environment.
It should be quite natural that people tend to seek common quality between what they have already known and the unfamiliar experience, so they can explain new knowledge by applying or modifying their original logic and make it to further understanding if lucky. During my exploration in the unique landscape of Scotland, I found there is a consistency across everywhere on this planet. It is the one infinite presence: time, which treats us equally and neutrally. I believe that in our world, everything exists according to fundamental principles yet are driven by complicated forces which we cannot fully explain with rules and formula but have to seek for the deep understanding of philosophy. The universal character of time gives us certain unity for the way we experience our surrounding, meanwhile brings a clear shape to my approach to art and conceptual thinking.