利用宣紙溫潤的半透明性，考量在不同層次、厚薄疊合的狀態下，圖像透出的程度不同，選擇適合拼貼、夾置的印刷品。這些印刷品(圖像)充斥在我們周遭，參與並成為我們生活經驗的一部份，因個體的不同，產生各自獨特的感受、定義和看法。我將印刷品裱貼於底層，挑選並決定它顯露的狀態，藉由手繪的介入，形成特定的安排和聯結，依生活經驗的變化，感受四周環境與個體的關係，將抽象感受經由挑選、並置、組合的方式與視覺連結，使觀眾從作品中得到觸發與聯想。
由於是現成的印刷品，是整個商業系統下的產物，內容因潮流的改變而更迭迅速，圖像的樣貌便因時間狀態而有所不同，其所承載的色彩與形象增加些許不可操控性，對我來說收集與挑選這些印刷品，像是蒐集屬於自己的記憶，在這時空下從原本就存在的元素中尋找適合的；如同在這世界中人們找尋自己是誰?是甚麼樣的面貌?人生經驗裡想保存些甚麼?在這種種問題下，身為人大概是在找尋適合自身的生活狀態吧?藉由找尋、篩選、變形、拼組，試圖組合出期望的樣貌。
Use the visible semi-translucent quality of calligraphy paper to consider how factors such as variations in layering and thickness affect the projection of images to select prints suitable for bricolages and attachments. These prints (graphics) are ubiquitous and indispensable to all aspects of life but may vary according to subjects, resulting in differences in perception, definition, and perspective. Prints are mounted to the base, selected, and to be decided its form of expression. A disruptive hand-painting technique creates corresponding arrangements and associations. Influences of life adjustments establish a correlation between the macro-environment and individual. Abstract experiences are associated with visual perception through specific methods of selection, juxtaposition, combination, with the hope to inspire and stimulate.
Existing prints are byproducts of capitalism. Subjects may be instantly re-created to accommodate contemporary trends. Visual representation adapts to linear progression and adds an element of chance to color coordination and image design. Collecting and selecting prints resembles organizing private memories retrieved from existing resources in a finite temporal and spatial dimension. This is similar to urgent issues to be explored: identity politics and representation, most valuable experiences in life, best conditions of living. In a continuous process of searching, filtering, modifying, assembling, an ideal is composed and completed.