從植物的造型出發，像是從一根乾枯的花開始生長。不鏽鋼的骨架是它的支撐與延伸。
我的創作從材料開始。不鏽鋼的框架向外延展，石膏的流動性在混合水後產生一種不可預測的狀態。我喜歡讓這些材料自己說話，讓它們的重力、流動和凝固自然發生，像是塑形的過程由材料來引導。  
每一次噴塗都是累積，幾十層、上百層，汽車漆慢慢包裹住形體，光影隨著層次變化。我不復刻植物，而是在建構一種新的結構、一種模糊的形態。它可能看起來像某種自然的記憶，又好像不存在於現實。  
《南方雪》中植物形象是我創作的起點，但最終，作品由石膏的曲線、鋼索的拉力和漆面的散光共同塑造。

 

My work begins with the form of plants—like a withered flower growing anew. The stainless steel framework serves as both support and extension.
I always start with materials. The outward expansion of the steel frame, the fluid unpredictability of plaster when mixed with water—these elements speak for themselves. I let gravity, flow, and solidification take their course, allowing the materials to shape the form rather than imposing control over them.
Each layer of paint accumulates—dozens, hundreds—slowly enshrouding the structure. Automotive paint builds upon itself, shifting in light and depth. I do not replicate plants; rather, I construct a new structure, an ambiguous form. It might resemble a fragment of natural memory, yet it does not exist in reality.
Southern Snow begins with botanical imagery, but in the end, it is shaped by the curves of plaster, the tension of steel cables, and the diffused light upon its painted surface.