My practice centers on exploring how classical aesthetics in calligraphy and painting can be reinterpreted in a contemporary context, while establishing a local identity for ink art.

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Between 2018 and 2025, my work required me to commute frequently across the Taiwan Strait. The physical sensation of moving between "home" and "away" transformed into the "One River, Two Banks" series. In these works, I used gold leaf to symbolize an undefined border, engaging in a dialogue with the Yuan Dynasty painter Ni Zan.

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Recently, I have extended this approach by experimenting with different colored foils, searching for the vibrant "Golden Light(Jinguang)" aesthetic characteristic of Taiwanese folklore.