Behind the Vermeer, 另一面，2022
‘Girl with a Pearl Earring’ Under X-ray & The Backside
X光下維米爾的戴珍珠耳環的少女 & 作品背面
oil on canvas
布面油畫
46.5 x 40cm & 46.5 x 40cm
Study of Cezanne , 學習塞尚，2022
Oil on canvas
布面油畫
50.8 x 40.6cm & 50.8 x 40.6cm
Equality, 平等，2022
Oil on canvas
布面油畫
35.6 x 35.6 cm & 91 x 46cm
Study of history – Captain Cooks’ Cottage, 2022
學習歷史 – 庫克船長的小屋
Oil on canvas
布面油畫
50.8 x 61cm & 50.8 x 61cm
The cottage depicted in the drawing and painting features an idyllic late-afternoon scene as twilight turns to night. I did erase a few other elements to generate a sense of leaden melancholy. There is a difference between the drawn line and the painted line.
King Edward VIII – His life and reign, 2022
愛德華八世-他的生活和統治
Oil on canvas
布面油畫
50.8 x 40.6 cm & 35.5 x 25.4 cm
Beuys’ Fat Chair Dialogue Duchamp’ Fountain
博伊斯的黃油對話杜尚的噴泉
Gouache on Japanese hemp paper & Reverse painting on glass
法國膠彩於日本麻紙 & 丙烯於玻璃背面
65 x 95cm & 37 x 37cm
I made Beuys’ Fat Chair into an animation to foresee Climate Change.
我把博伊斯的黃油做成動畫融化去預見氣候變遷
Couple, 一對，2022
Oil on canvas，布面油畫
50.8 x 66cm & 50.8 x 66cm
Extended Skin, 2017
肌膚的延伸
Gouache on cardboard & Sennelier ink on paper
法國膠彩於紙板 & 紙上法國墨水
60 x 252cm & 168 x 228cm
As the Canadian philosopher Marshall McLuhan elaborates: “Clothing, as an extension of the skin, helps to store and to channel energy; can be seen both as a heat control mechanism and as a means of denning the self socially”.
加拿大哲學家馬歇爾·麥克盧漢闡述到：「衣服作為皮膚的延伸，有助於儲存和引導能量； 既可以被視為一種熱量控制機制，也可以視為在社會上自我化的一種手段」。
The Sound I Saw – Homage to John Cage 4’33”, 2017
看得見的聲音 – 致敬約翰·凱奇的4’33”
Charcoal on paper
紙上炭筆
60 x 380cm
In John Cage’s 4’33”, the audience is left to revel in its subtle sounds and realise that silence doesn’t exist. The long-standing tribute to and interest in John Cage’s works has been transformed into the long and deliberate process of black bean composition. With my black beans drawing as telepathy, a spiritual conversation with John Cage’s 4’33 essence conveys my decipherment – the sound I saw. Imagine your fingers sweeping the black beans to experience the sound with your eyes. The work is a dialogue with the sound, not the sound of the ears, just the sound of the eyes.
在作曲家約翰 · 凱奇的《4分33秒》中，觀眾被放置在靜寂中去感知微妙的聲音。對約翰 · 凱奇的作品長久以來的致敬和興趣， 轉化在這張漫長而刻意的黑豆習作過程中，冥想中手指撥動黑豆的節奏律動與約翰凱奇的4分33 秒的精神展開對話，衍生我的解讀—我用眼睛看到了聲音，激發觀者視聽覺的通感和冥思。
Memorial Bricks from Vermeer, 2016
維米爾的磚
Gouache on photo paper
法國膠彩於相紙
Dimensions variable (19.5 x 11 x 5cm each paper brick)
裝置尺寸可變（19.5 x 11 x 5厘米/每片紙磚）
Vermeer’s palpable work, The Little Street, is a reference and a point of departure to the conversation. My ‘constructed brickworks’ as a connection endeavour to comprehend the intimate relationship between two modes of visual art, 2-D and 3-D.
這組對話致力於理解兩種視覺藝術模式（2D 和 3D）之間的密切關係。
Uncertainty 2009 (Chinese Tunic Suit vs Parliament)
易變，2009 （中山裝對話議會大樓）
Gouache on paper, cardboard
紙上法國膠彩，紙板
336 x 268cm vs 294 x 238cm
I endeavour to construct a regular, beautiful rhythm that might convey a state of fragility and uncertainty.
我努力建構一種規則、優美的節奏，傳達脆弱和易變的狀態。
