這系列作品的出發點，來自偶然的瞬間。有一天，陽光灑進工作室，剛好照在一個放置已久的油土人體雕塑上。隨著時間推移，雕塑在光和熱的作用下逐漸融化。當時我觀察著變化，看著形體慢慢消失，最終露出裡面的骨架。這個過程讓我感到既陌生又熟悉，好像在提醒我一些什麼東西——好像是關於生命的，也好像是關於結構本身的。

融化的那一刻，我注意到骨架，或者說支撐結構，開始變得突出，它成了形體最後的痕跡，成了某種持續的力量。我突然想到：如果我將骨架與自然的某些形態，比如植物的根莖結合在一起，會不會出現一些新的可能性？骨架和根莖似乎有一種對比關係——前者是穩定，後者則是變化的，但它們似乎也擁有某種共通性，都是生命的一部分，都是一種運動的結果。

所以我開始把這些骨架重新塑型，讓它們和根莖的形態融為一體。在塑造過程中，骨架和根莖的結構之間並不是簡單的拼貼，更像是慢慢滲透進彼此，逐漸模糊了邊界。這種模糊其實很有意思，促使我開始思考，生命的形態到底是什麼？是我們看得見的外部形體，還是那種隱藏在裡面的、我們很少關注的內部力量？  

在材料的選擇上，我用了金屬和樹脂，也用了翻模的技術。因為這些材料不僅能保持形態的真實性，也讓我能夠捕捉那種流動感和生命力。我很喜歡翻模的過程，因為它好像是一種記錄，是一種把暫時性的東西固定下來的方式，但同時它又不是靜止的——因為那些形態本身是在生長的。我希望能夠召喚出結構裡的力量，而不只是停留在形體的表面。

對我來說，這系列作品更像是一些片段，一些被記錄下來的瞬間。就像骨架和根莖，它們是兩個完全不同的結構，但它們的相遇產生了新的可能性。而這些可能性，就像生命本身一樣，是開放的，在不斷變化著。
 

This series of works originates from a serendipitous moment. One day, sunlight poured into my studio and illuminated a long-abandoned clay sculpture of a human figure. Over time, the heat and light caused the sculpture to gradually melt. I stood there, watching the form dissolve until only its internal framework remained exposed. The experience was both alien and familiar, as if it was trying to remind me of something ineffable—perhaps about life, or perhaps about structure itself.  

As the sculpture melted, the skeleton—or supporting structure—became increasingly prominent, serving as the final trace of the form and embodying a kind of enduring force. This moment sparked a thought: What if I fused this skeletal framework with natural forms, such as plant rhizomes? Could new possibilities emerge? Skeletons and rhizomes seemed to contrast one another—the former embodying stability, the latter representing transformation. Yet they also shared a certain commonality: both are integral to life and products of dynamic movement.  

I began reshaping these skeletal forms, blending them with the fluid structures of rhizomes. This process was not a simple act of juxtaposition but rather a gradual fusion, where boundaries became increasingly blurred. This ambiguity intrigued me, prompting reflections on the essence of life: Is it the external form we can perceive, or the hidden internal forces we often overlook?  

In terms of materials, I employed metal and resin, as well as casting techniques. These materials allowed me to preserve the authenticity of the forms while capturing a sense of fluidity and vitality. I found the casting process particularly fascinating—it feels like a form of documentation, capturing fleeting moments while paradoxically remaining dynamic. The forms themselves seem to be growing, rather than remaining static. Through these works, I aim to evoke the energy inherent in structure rather than merely representing external shapes.  

To me, this series feels more like fragments—moments captured and preserved. Just as skeletons and rhizomes are fundamentally different structures, their convergence generates new possibilities. These possibilities, much like life itself, remain open and ever-changing.