藝術家聲明

我的藝術家身分，與靈媒之間並無本質上的區別。兩者皆為通道，使不可見之物得以顯現，使未被言說之聲得以被聽見。創作不再是主體意志的展現，而是一種被召喚、被穿越的過程——藝術家既是發聲者，同時也是被佔據的容器。

在這樣的理解之下，身體不再只是創作的工具，而是一個可被開啟的場域，一個內在宇宙的容器。受「內經圖」的啟發，我將身體理解為一種可運行、可感應的動態結構，使外在大宇宙與內在小宇宙在其中滲透、轉化，並持續流動。

我將我的創作視為道家哲學在當代語境中的一種藝術實踐——透過身體、感知與能量的運行，使古老的思想在當下得以轉化與顯現。

因此，在創作的過程中，我有意識地將自身置於一種去主體化的放空狀態，鬆動意志的主導權，使外在的能量與人事物的影響得以滲入——無論是記憶的殘影、歷史的回聲，或甚至來自動物性的召喚，如「犬僧」系列中人、狗、神之間的身分流動。創作於此不再是單一主體的控制技術，而是一種在控制與失控之間持續擺盪的生成機制——一種「可控制的

我試圖強行並置彼此完全相斥的兩端，使其在同一結構中共存，生成一種持續位移的觀看視角及其內在的倫理機制。這是一種循環性的關係結構，在此結構中，上與下、高與低不再對立，而是不斷轉換，甚至互為對方。

這同時是一個去中心、去自我的過程——主體不再擁有固定位置，也無法形成單一的自我投射。取而代之的，是多重且同時存在的定位：自我彼此疊合、游移，最終指向一種打破二元對立的狀態

——萬物皆我-我亦非我。

Artist Statement

In this practice, the identity of the artist is not ontologically distinct from that of a medium. Both function as conduits through which the invisible becomes perceptible and the unarticulated acquires form. Artistic production thus operates less as an act of subjective expression than as a site of transmission, where the artist is simultaneously the enunciator and the vessel through which forces pass.

Such a position entails a displacement of the authorial subject. The “self” no longer occupies a stable origin of meaning, but is instead distributed across processes, relations, and external agencies. Creation unfolds as a condition of traversal, in which human and non-human forces intersect and co-constitute the work.

Within this framework, the body is no longer reducible to an instrument of production, but constitutes an operative field and a cosmological container. Informed by the Inner Scripture, the body is understood as a dynamic and perceptive system in which the macrocosm and the microcosm continuously interpenetrate, transform, and circulate. What emerges is not a representational structure, but a processual configuration of energies and relations.

This practice may be situated as a contemporary enactment of Daoist philosophy, wherein the operations of body, perception, and energy reactivate and reconfigure cosmological thought within a present-day context. Ontology here is not fixed, but unfolds through movement, transformation, and relationality.

Methodologically, the work engages a deliberate de-subjectification, suspending intentional control in order to allow external forces and heterogeneous agencies to permeate the creative process. These may manifest as mnemonic residues, historical echoes, or non-human intensities, including those associated with the animal realm—as exemplified by the fluid identities between human, dog, and deity in the Canine Monk series. Artistic production thus ceases to function as a technique of mastery, and instead operates as a generative mechanism oscillating between control and indeterminacy—a condition that may be described as “controllable uncontrollability.”

Furthermore, the work stages the coexistence of mutually exclusive extremes within a single structural field. This produces a continuously shifting perspectival condition and an immanent ethical configuration. Hierarchical binaries—such as above and below, high and low—are destabilized and rendered reversible, entering into processes of mutual transformation. Contradiction is not resolved, but sustained as a generative force.

This also constitutes a process of decentering and de-selfing, in which the subject is displaced from any fixed position and can no longer sustain a singular point of projection. Instead, what emerges is a condition of multiplicity—overlapping, shifting, and coexisting configurations of the self. Ultimately, this points toward a mode of being that exceeds binary oppositions:

All things are me—yet no singular self remains.