Introduce

■ Traditional Chinese Character -- Reconstructed

　　Chinese characters are a kind of semiotic system. This system refers to “forms adopted by such symbols in the Chinese language” and “content reflected by such symbols in the Chinese language.” What Chinese characters convey is not only linguistic communication but also unique word forming concept via object observation and shape extraction, thus revealing the ideographic and communicational function of Chinese characters. During the creation of this piece, the artist sees the words as pure graphic presentations, re-deconstructs the words, and then with integrated creativity, selects words for their positive meaning and energy. Then the artist takes the cultural and historical connotation embedded underneath the words, as well as the contemporary social phenomena, as his creative base, as an echo of current social situations. Besides expressing the existing cultural content through the creation, the work also somewhat carries a concern for humanity and identification with the local state of being.

Work: Men at Birth
　　The work takes the original shape of a character, deconstructs it, re-shapes it into another visual symbol, and derives its concept from the Chinese word, “Ben” (meaning “Origin”). The word “Ben” can be deconstructed into three components as “Man, the Plus sign, and the Minus sign.” The Chinese word for “Man,” in semiotics, thus transforms from being “Signified” to “Signifier,” with its innate capacity to add and deduct. Such transformation echoes Laozi’s relativity philosophy on “Yin and Yang”, “Increases and Decreases.” “Ben” is the original nature of Man in its beginning pristine state. When each one of us is returned to his/her original and pristine state, a cultural, spiritual bridge will subsequently be made. This series of three works are of various combinations of “Man” with “+ -” signs that ultimately form an arch bridge, intending to link up the bridge within each one of us. What is above or beneath the bridge is correspondingly true and false; real and un-real; physical and virtual, much like a recurring and concurring life cycle. What appears to be a gigantic eye from a distance can actually see through all that meets the eye, all those vicissitudes of life, inviting us to take each life seriously while returning to our age of innocence.

Work: The Road Home
　　Albeit in a desolate grassland, the disjointed traditional Chinese characters still stand upright, look to the derelict distance, and uphold a connection with each other, never to give up. This image sends out a message that as long as we all stand united, unfretted, there are no hurdles we cannot cross.

Work: Rootless Traditional Chinese Characters
　　Traditional Chinese Characters, disjointed, fragmentized, adrift in mid-air, carry a metaphor to indicate everyone’s sense of insecurity and insufficient identification with the land. It is a state much akin to the “traditional Chinese characters” bereft of their root words and sense of security, thus suspended in the air with no place to land. It is my deep yearning that such work will awaken everyone to value and cherish this beautiful island, Formosa.

■ 漢字

　　漢字是一個符號系統，這個系統分別指「漢字這種符號所採取的形式」和「漢字這種符號所反映的內容。」漢字所傳達的除了語言的溝通交流，獨特的觀物取象造字觀念，亦能顯示漢字本身的表意及傳達文字功能，創作時作者將字形視為純粹的圖案表現，重新解構文字進而從統合創意，選取好的字義中產生正能量，並將以字義其後所蘊含的文化歷史與當代社會現象做為創作的底蘊與形勢互相呼應。除了表達創作所固有的文化內涵外，更增添幾分悲天憫人的在地關懷與認同。

作品〈人之初〉:
　　應用字體的本身造形並解構其造形成為另一種視覺符號，以「本」字做概念發想，「本」字經由解構後是「人與+-」結構而成的，人從符號學的所指〈Signfied)加減轉譯成能指〈Signfier)的加減，是《老子》「損」「益」陰陽相對思維成為的一種「本」，是一種人的本質，是一種人的初衷，讓每個人的內心回到最原始的純真，搭起一座心靈文化之橋。三件連作即是以不同人的「+-」符號最後連接成一座拱橋，意圖串起每個人原來心中那一座橋，拱橋上下虛實對應，像是一種周而復始的人生循環，遠看像一隻巨大的眼睛，似乎看破眼睛內的繁塵俗事，告訴著我們認真的看待每個人生，回到純真的年代吧！

作品〈回家的路〉:
　　雖然是在荒涼的草原，被拆解的繁體字屹立不搖，望著蕭瑟遠方，堅挺的站立著，大家互相依靠牽連在一起，永不放棄，畫面訴說著，只要大家不氣餒團結在一起，就沒有甚麼衝不破的難關。

作品〈失根的繁體字〉:
　　被拆解的繁體字，支離破碎，在空中漂浮，隱喻每個人對這塊土地的不安全感與認同感不足，像是失了根沒有安全感的〈繁體字體〉漂浮在空中一般，沒有落腳之處，我深深期盼能透過作品喚起每個人對這塊美麗的福爾摩沙之島的重視與珍惜。

 

Introduce

■ Chinese character flower 漢字花

　　漢字花系列探討心靈節氣，作品取材於近年來全球社會所關注的自然環境與內心環保等議題，同時結合二十四節氣的意涵，試圖傳達生命的重要及其正向意義。透過解構、重組節氣漢字，以「漢字花」來傳達生命的重要與正向。作品同時呈現一個單獨個體的內在心境，雖因時期而變化，但彼此卻能融合交流，成就出自然的美。生命的季節就如同節氣的更換：經歷了冷峻寒冬後，必有堅毅不拔的美，如此綻放它的豐盛。

　　古老的東方民族從大自然的氣候規律中，劃分出二十四節氣，我們的生活、飲食、醫學、農事活動…等，無一不與其息息相關。科技文明的快速發展，雖然帶來了許多的便利，也帶來破壞，在自然環境中、也在我們的心靈。因此我們需要關懷自然，也需要關懷內心。問題的根本在於人心的轉變，因為人類破壞環境換取利益的私心，已取代了謙卑敬天之心。

　　展覽藉由查爾斯．桑德斯．皮爾斯(Charles Sanders Peirce) 的符號學與歐文·潘諾夫斯基 (Erwin Panofsky) 的圖像學理，梳理人類文化的象徵形式及思維脈絡，作品想表達的是，人類種種非自然的表現，都是因著心靈失去了自然。創作的理念在於：關懷自然始於淨化內在心靈；作品呈現的是：心靈應與自然的定律合為一體，體現出規律與謙卑，沒有壓抑、不受干擾。