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I started with Western abstract artwork, but it was abandoned for a long time, and because of the flowers, trees, and rocks I saw in the land of Hualien, I started a series of artworks based on nature and vase flowers, which brought me back to the thinking life and space of art creation.

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I have always felt that I am a painter who spends a lot of time thinking, and I am always willing to improve and make more changes in my own work, from primitive art to abstract deconstruction, from vase flowers to modern landscape series. Even if the composition is the same, I like to make different variations in it. I seem to be unable to tolerate rules or too many rules, but with more painting, more reading and more thinking, I can formulate new rules and regulations.

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The ancient saying "a sword sharpened for ten years" has its meaning, but how can I understand its meaning if I have not gone through this decade? However, for so many years, in addition to hard work, I have been supported by the support and encouragement of my family and friends, and I thank them for their repeated support and tolerance.

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In 1996, I started to create two different styles of art, vase flower and totem abstract art. Why did I start creating elements that span the very different creative fields of East and West? To be honest, I am very much in love with the non-physical and abstract forms of Western art. Therefore, my instinctive senses seemed to dominate my creative thinking at the beginning. I tried to find inspiration and conceptual extension in Western painting. I am very interested in Western art works that use color in a daring way, beyond imagination, and can express color like magic in a dreamy way. Therefore, I have put a lot of effort into color, and my works are even more colorful to express the doability of art.

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After a few years of studying in Paris, I was initially keen to learn about the expressions and techniques of the Western masters.

Although art is learnable, what you want to express at the end is your true self.

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The juxtaposition of Eastern and Western cultures is not an easy task at all. One must be well versed in the wide range of techniques of Western painting, and be well versed in the possibilities of art, as well as be surprising in the choice of subject matter. I am fascinated by the possibilities brought about by this collision, and at the same time, it touches and chews in the deepest part of my soul. I am very fortunate to have both Eastern and Western forms of artistic expression, one spirited, one classical, one intuitive, one introspective, one irrigated, and one cultured.

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The male nude is a stylistic breakthrough after abstraction, modern landscape, and vase flower. The male nudes in the paintings are covered with high and low colored colors, and the simple color palette seems to cover up the impact of each character.

The changing postures and nudity of the men's bodies are inadvertently and in large quantities emitting male pheromones. Male privacy is revealed one by one, but is perfectly sealed in another way. These nudes present the concept of nudity without nudity, the naked man as self-identification, conservatism, taboo, openness, subversion, and body exploration again and again, from the color block expression tone, linear connection and assertion, pink masculinity, to the unlimited space for thought.

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From primitive art to abstract deconstruction, from vase flowers to modern landscapes, and nude male series, all these creations have their origins and a context to follow. I need to create, creation doesn't need me, I need a brain full of energy to satisfy my happiness.