《像一句詩那麼短》

在城市中，倘若將置身的這個城市輪廓攤現，我們所目睹的場景記憶有什麼?

有什麼樣的視覺暫留在我們的框視之下成為一個「地方」的空間存取?

在這個城市中空間和時間的快速轉換流淌之際，我們所盡可能的對於城市烏托邦的想像是否更具美善? 還是烏托邦永遠只是一種想像的替換，而其實從來不會存在?

而如果我們將城市的時空物件抽象化，那我們可以想見所失落的，與其說是其中實體物件的替換，不如說真正失去的是關於「時間」，以及時光形影所尾隨而至的人的感受性。正因為如此，我們在作品中看到那些實體物件的影像意謂何種意義並不是重點所在，它只是想要描述一個關於「存在」的仲介者；時間的曾在，人的來去，故事的脈絡，夢境的織作，我的存在。

As short as a sentence of poem 　　In the city, if we spread out the profile of the city where we are, what are the memorial scenes we’ve witnessed?

　　Among all the reflections of persistence of vision, what scenes left to become the storage space of a “place?

　　In the city where space and time swift rapidly, the imagination of utopia which we tried out best to shape in our mind eventually gets better or not? Perhaps utopia can only be imagined, is it an endless process of replacement which could never be realized?

　　It’s obvious that we will feel lost if we make the objects which represent time and space in the city abstract. Compare to the substitutions of real objects, it’s rather a lost of “time”, and the sense of feeling we perceived through the times. Thus, the meaning of the objects we see in the paintings doesn’t matter anymore, it is mere a medium to describe the status of “existence”. Time used to be existed, people came and left, context in the stories, weaving of dreams, my own being.