Works
| Personal Works／Image Rewriting
In my "Image Rewriting" series, I took advantage of the multi-layered structural characteristics of textiles to recreate images from family photos, and to explore the relationships between the characters in my childhood memories.
"Mother and Me" portrays my relationship with my mother through woven blocks of color, reflecting the unfocused yet clear memory state in my mind.
In "Subway Map", during the weaving process, each warp thread is preset in a precise position, just like the station nodes on a subway map, acting as coordinates for passengers traveling through the city. However, some memories are like warp threads suddenly being cut during the weaving, losing their alignment and direction, and leaving them forever incomplete.
"Let’s Go Out" illustrates my childhood memories of being taken out to play by adults. The structural color blocks of the multi-layered fabric creates a blurred image; human figures are extracted and "pasted" onto the fabric; the metal wires are used to represent swirling lines. These elements ultimately express a child's anxiety and unease about the outside world.
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| "Mother and Me" Four-layer Warp, Polyester／50×50 cm (2 pieces) 2003
⸻  "Subway Map" Four-layer Warp, Polyester／50×50 cm 2003 ⸻
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"The Brewing of Notes I" CAD Jacquard Hand Weaving, Polyester, Rayon／40×68 cm (4 pieces) 2006
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"The Brewing of Notes I" (Detail)
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"The Brewing of Notes II" (Whole + Detail) CAD Jacquard Hand Weaving, Polyester, Rayon／68×120 cm 2006
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"The Brewing of Notes III" (Whole + Detail) CAD Jacquard Hand Weaving, Polyester, Rayon 2006⸻
"The Brewing of Notes IV" (Whole + Detail) CAD Jacquard Hand Weaving, Polyester, Rayon 2006| Personal Works／Fictional Story
In “The Third Kid”, by removing the “self” from personal memories, their authenticity loses its importance. The figures in the photos are designated by the “self” as roles in a fictional story. Do the fabric folds delineate the boundary between fiction and reality? No, they are merely footers in the story text.
"Going Out - Entering the Garden" CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／160×109 cm（Folded） 2012
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"Going Out - The Unknown Kid" CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／112×121 cm（Folded） 2012
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"The Third Kid" (Front, Back) CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／80×70 cm (Folded) 2012
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| "Going Out - Entering the Garden" CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／160×109 cm（Folded） 2012 |
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| "Going Out - The Unknown Kid" CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／112×121 cm（Folded） 2012 |
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| Personal Works／Time Rewriting
In "Field of Light", I tried to transfer the light and shadow into another field, by depicting them as imagery woven into textiles that are then folded to create a boundary between the "light and shadow" within the work, and the light and shadow in real life.
The light and shadow capture the memories from a moment in time, woven and folded into textiles, framing a fragment of time extracted from everyday life and giving it a more definite sense of existence.
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"Field of Light" CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／115×140 cm (Folded) 2013
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"Field of Light－Night" CAD Jacquard Hand Weaving, Three-layer Warp, Polyester／115×160 cm（Folded） 2013
| Personal Works／Early Journey (2014)
One spring afternoon of 1992, I left Taiwan from Taoyuan Airport. As the plane took over and climbed, I saw vast farmland ridges one after another on the hillside for the first time. The dazzling sunset and picturesque landscapes left a deep impression in my mind.
Some time later, while drinking a cup of tea, memories of the farmland ridges came rushing back to me, for which I created four pieces of my “Early Journey” series of works as a reminder of that wonderful encounter with nature.
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Documenting the Creative Process
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Documenting the Creative Process
| Personal Works／Subtropical Landscape (2017)
Breezy days, while the spring is sneaking away, the summer comes. The southern ocean wind blows from the southern tip of the island, making the summer heat swell, seeping into people's bones, like they’re in a sauna.
Using woven mats as a medium, for remembering people of the past, observing the winds blowing on land like a painting. As the rain falls, new life rises, silent yet annoying, warp and weft woven in response.
| Personal Works／Ordinary Days
The Fabric of the "Ordinary Days" act as the Carrier of TimeFabrics are often suspended or folded into the facets of people's ordinary, everyday lives. Through close observations of their appearances, each piece of fabric seems to carry a fragment of time.
Time Behaves Like Light
Time moves only towards the "future", in the same linear passage as weaving. If we look closely at the movement of light and shadow on an object, we can observe the presence and passage of time in everyday life. Those transient objects in space seal the combination locks of time, just as they faithfully record the passage of light as vehicles of time.
On the other hand, fabric seals the moments hidden deep within memories. It's only through the warp and weft threads, colors and heddle settings, does it finally reveal those concealed memories to us.
"Under the Shadow of Happiness" CAD Jacquard Hand Weaving, Mercerized Cotton, Rush Fiber, Nylon／190×342 cm 2011
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"Facing North in the Morning" CAD Jacquard Hand Weaving, Mercerized Cotton, Rush Fiber, Nylon／330×173 cm 2012
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"Living Space" CAD Jacquard Hand Weaving, Mercerized Cotton, Rush Fiber, Nylon／348×145 cm 2012
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| "Under the Shadow of Happiness" CAD Jacquard Hand Weaving, Mercerized Cotton, Rush Fiber, Nylon／190×342 cm 2011 |
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| "Facing North in the Morning" CAD Jacquard Hand Weaving, Mercerized Cotton, Rush Fiber, Nylon／330×173 cm 2012 |
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| "Living Space" CAD Jacquard Hand Weaving, Mercerized Cotton, Rush Fiber, Nylon／348×145 cm 2012 |
| Personal Works／Fiber-woven Creations
One midsummer night, the sky was covered with dark clouds and the still air rang with the annoying cacophony of frogs and night owls. I soothed the restless mind with tea to wash away the drowsiness.
Thinking about the indigo-dyed rush grass from years past, the color was slightly blue and a bit gloomy. Sitting on the mat, weaving the grass the whole night, time passed leisurely. The night faded away with the break of dawn, leaving behind a scene of sleeplessness within the room.
"Sleepless Night" Hand Woven, Indigo-dyed Triangle-Cyperus Fiber／65×8×15 cm 2022
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"Tea Mat in Sleepless Night 1" Hand Woven, Indigo-dyed Triangle-Cyperus Fiber／24.5×36 cm 2022
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"Tea Mat in Sleepless Night 2" Hand Woven, Indigo-dyed Triangle-Cyperus Fiber／15×16 cm 2022
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| "Sleepless Night" Hand Woven, Indigo-dyed Triangle-Cyperus Fiber／65×8×15 cm 2022 |
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| "Tea Mat in Sleepless Night 1" Hand Woven, Indigo-dyed Triangle-Cyperus Fiber／24.5×36 cm 2022 |
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| "Tea Mat in Sleepless Night 2" Hand Woven, Indigo-dyed Triangle-Cyperus Fiber／15×16 cm 2022 |
| Museum Collaboration／Barbie's World
Main Organizer／Kaohsiung Museum of Fine Arts2009
Barbie’s persona evokes the impression of a sexy, mature feminine character, much like the expectations often placed on women, a high bar that most women aspire to achieve for recognition and respect in society. However, in her private life, Barbie may just be a simple girl who enjoys playing with paper airplanes at home.
I used small paper cranes, paper boats and other children’s paper crafts to create a costume made for princesses, superstars, brides, and other characters that little girls would dream of becoming, to fulfill the childhood dreams of successful women who are as pure and kind-hearted as Barbie.
Main Organizer／Kaohsiung Museum of Fine Arts
2009
| Museum Collaboration／Patterns, So Much Fun!
Main Organizer／Kaohsiung Museum of Fine Arts2012
Main Organizer／Kaohsiung Museum of Fine Arts
2012
| Museum Collaboration／Intertwined－Exploring Textile Art
Main Organizer／Kaohsiung Museum of Fine Arts2014
| Museum Collaboration／Do Cut Textile
Main Organizer／Tainan Art MuseumCo-organizers／Chia-Hui Lu, Lin Yougang (林右剛) (Junmay Label)2022
"Do Cut Textile" combines textile design with artistic craftsmanship. By manually cutting away the upper layer of fabric, the underlying patterns are gradually revealed, showcasing the texture of fiber craftsmanship. It embodies the “do cut” concept, providing people with a sense of fun through fabric destruction, and subverting their conventional expectations of textiles in daily life.
The inspiration for the artwork came from local ecological landscapes in Tainan, Taiwan, such as wetlands, coastal areas, reservoirs, and old towns. Colors sampled from various ecological environments, and flora and fauna, serve as the color palette and graphic elements for the fabric design.
By utilizing the characteristics of double-layered fabrics, the color palette is woven as the underlying pattern layer while the ecological imagery is woven on the surface using white yarn. The application of this fabric design extends to home decor and bags, bringing the concept of "Do Cut" textile into everyday life and “weaving” a path for the public to explore the city of Tainan.
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| "Coastal Wetlands" ⸻ |
"Old City" Bag Design
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| "Old City" Bag Design |
| Lifestyle Design／"愛藺" Series
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"愛藺 99" (Classic Design 1)
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"愛藺 99" (Classic Design 2) + The Green Series
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| "愛藺 99" (Classic Design 1) |
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"愛藺 99" (Classic Design 2) + The Green Series
| Lifestyle Design／"Everyday Carry" Series
Outgoing Hat
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Handbag (Leather + Rush Fiber)
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Rush Fiber Pouch + Wallet
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Handbag (Rush Fiber Body with Leather Trim)
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Black Bag Design (2022)
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| Outgoing Hat |
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| Handbag (Leather + Rush Fiber) |
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| Rush Fiber Pouch + Wallet |
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| Handbag (Rush Fiber Body with Leather Trim) ⸻ |
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| Black Bag Design (2022) |
| Lifestyle Design／"Working at Home" Series
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Straw Container for Tools (2018)
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Straw Floor Mat
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| Straw Container for Tools (2018) |
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| Straw Floor Mat |
| Lifestyle Design／"Tabletop" Series.jpg)
Container 1
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Container 2
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Good Morning Mug⸻
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Come Drink Tea + Black Tea Mat 1 ⸻ .jpeg)
Come Drink Tea + Black Tea Mat 2
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Container 1
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| Container 2 |
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Good Morning Mug
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Come Drink Tea + Black Tea Mat 1 ⸻
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| Public Works／Southern Landscapes
| Public Works／Island Four Seasons
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