曾經一位朋友在理解我的作品如何運作之後和我說：有這麼多表達的方式，為什麼你會想要花這麼多的時間去處理幾乎不會被看到的技術部分，而不是在其他事情上面？
我當下是回答不出這個問題的。事後我才意識到當一個人可以閱讀你在作品背後的某種狀態其實是非常赤裸的，但同時卻又有種特殊的感覺 ; 一方面因為這麼做其實沒什麼道理，我實在很難想出一個讓人滿意的答案。另一方面則是因為他提到了幾乎不會有人在意的部分，我們兩個人在那時候好像有了某種奇妙的連結。
還在唸書的時候所做的作品很自然地與正在學習的事情有所連結，當時唸的是電腦藝術，我很直接地好奇這樣的媒材在技術上是怎樣運作。然而有些時候當你花了大半時間終於讓電腦在螢幕上顯示出一句“hello world”之後，其實並不會有人對這句話有多興奮。但這反而讓我開始對於個人感知這件事情產生興趣，什麼樣的人會對什麼樣的事情有感覺，如果有感覺了，又有什麼方式可以傳達自己的感受到其他人身上，而其他人又能怎麼評斷他所正在感受的事情。即便是一個紅色任何一個人都很難描述他眼中的紅色，並且確定另外一個人所看到的紅色和他所看到的紅色是一樣的。這種難以形容的狀態如果無限擴張到每一件事情上面那可能會非常累人，但如何能夠試著捕捉住這樣的情感狀態卻是讓人著迷的。
於是那個時期我所做的作品大部份是藉由學習，試著去了解身邊特定媒材的運作過程，特別是我們會拿來傳達訊息的科技媒材 ; 透過選擇其中某些特定的關鍵元素，進而去操作它。希望藉由這樣地操作改變，能夠刺激習以為常的感知狀態。離開學校之後，生活也多了很多東西需要面對，所做的東西很自然又與身邊發生的事情連結。在挑選作品處理的關鍵元素與情感狀態的捕捉之間也稍微有了變化。我並不確定別人能夠以什麼樣的方式看待我做出來的作品，這次的展覽以習作的方式命名，除了提供觀眾一種觀看的線索，也重新整理自己的創作軌跡。
Previously, a friend of mine asked me the following question after he understood how my works function. “With so many ways of expression, why did you prefer to spend so much time on dealing with the technological dimension that is hardly seen by the viewers?”
I was unable to answer the question at that moment. Later, I felt exposed and thrilled when a person is able to read between the lines of my works. On the one hand, I could not deliver any satisfactory answer because I employed this approach for no reason. On the other hand, he mentioned an aspect that almost no one would notice at all, which resulted in a fantastic connection between us at that time.
When I was a student, it was natural for me to create works related to what I was studying. I majored in computer art, and I was curious about how such a medium functions technically. I spend a lot of time making the term “Hello World” appear on the computer screen, but actually no one would feel excited at it. This instead aroused my curiosity about human perception. What kind of people will have feelings about what kind of things? How can they make others feel what they feel? And how will others judge these feelings? Take the red color as an example. It is difficult for people to describe the red color they see, let alone to make sure that others see exactly the same red color as they do. It would be exhausting if this situation applies to everything. However, it is fascinating to try to capture the moment of having empathetic feelings.
Most of the works I created during that period were the results of my attempt to learn the operation of the media I employed, particularly those technological media used for message transmission. I extracted specific key elements of the media and manipulated them, aiming to stimulate our regular and monotonous perception. I have experienced real hardships in my life since graduation, which connects my works to the events that occurred around me. The ways I capture the sentimental state and select the key elements for my works have also changed as a result. I am not sure how others will view my works. I entitled this solo exhibition Studies in Perception, which not only provides the viewers a background context.