〔 Light as Feathers 〕
Every joy and sorrow we encounter etches itself into the fabric of our being. Each experience, no matter how fleeting, becomes a trace—part of a greater tapestry of memory that shapes who we are. These impressions, both vivid and faint, offer us a way to understand life, not only through words and images, but also through form, light, and space.
Light as Feathers draws from the organic rhythms of the land—rippling water, undulating mountain ridges, and the concentric rings of trees. These motifs are rendered as interlacing lines, layered with flickering hues that evoke emotion and time. Together, they form translucent slices of memory—fragments gathered from everyday light and color.
Each piece hovers like a feather: weightless, radiant, and momentary. The work invites us to trace the delicate line between the personal and the universal, between what we remember and what slips away.

/ Postscript /
▲ Ji Guang Pian Yu
refers to a mythical creature from ancient Chinese legend—Ji Guang—and a single piece of its fur (Pian Yu).
The phrase later came to symbolize rare and precious fragments of art or literature.
As Ming scholar Wang Shizhen wrote: “This volume, purchased from a late friend’s son for ten thousand coins, I treasure as a single feather of Ji Guang.”
We replaced the original character “吉” (auspicious) with the homophone “汲” (to draw), to suggest a gentle savoring of everyday light. Each fragment in this work gathers a tender trace of memory—fleeting, luminous, and quietly enduring.

[ 2025 Taiwan lantern festival｜ MOMOJUU ］
Once, people drew energy from the ponds, and the land responded with both stability and unexpected gifts, forging a close, interdependent relationship. Today, reflecting Chintan Park’s history as a vital hub of agricultural production, the artwork “MOMOJUU” emerges as a whimsical creature born from these very ponds. The artwork captivates with its unique design while embracing the vision of rural regeneration. The concept seamlessly integrates the strengths of Taoyuan’s bamboo craftsmanship industry, promoting the reuse of agricultural materials to raise sustainability awareness and serving as a cornerstone for cultural creativity. By blending light art with the rural charm of Taoyuan, “MOMOJUU” exudes a rugged yet lively presence. It stands as a quiet guardian of the land while inviting playful souls to engage with it. Together, visitors are inspired to use their imagination to uncover the abundant energy of Chintan Park, bridging its past, present, and future.

Our minds drift back to Lane of Daylight (2023), a space where we have long reveled in capturing fleeting memories and ephemeral emotions.
At the invitation of Non-Typical Planning, we once again turn to Lane of Daylight as a vessel—this time to intertwine reading, environment, and architecture into a singular journey.
The first-floor lobby of the New Taipei City Government, a slender and open corridor, becomes our canvas. Here, we seek to craft a roaming experience where reading flows freely, unhindered in every direction:
from the structured rhythms of a great city into the gentle tempo of a small town, and further into the winding embrace of a hidden alley.
Orderly grids and scaffolded frameworks give way to the soft, whimsical scenery of book-lined paths—
where something unexpected always beckons a pause.
Perhaps it is the intricate grandeur of an architectural detail, the colorful pulse of a street corner, or the quiet resonance of a folded line within the pages of a book.

<溯 revert> is an art piece that depicts the urban landscape in the form of trees, symbolizing the scenery of a city nestled between mountains and sea. The intricate and complex lines, akin to flowing water, pierce through life, reflecting the city’s landscape with the shimmering hues of various colors. The artwork utilizes refractive materials in seven colors intertwined together, allowing viewers to perceive different facets from different angles, times, and even with the flow of air.
Beneath its ever-changing and flexible form, the artwork emits a diverse array of variations in celestial light, interacting with its physical structure, bestowing a subtle visual language. Each subtle change endeavors to concretely interpret life and nature. Representing the flow of life and the passage of time, much like how a city unfolds different facets with the changing seasons and the passage of time.

『 Taiwan’s Soaring Memories of Prosperity 』
Light point impressions, our life tracks. Stacked and pieced together, a memory of the city.

Starting with the exploration of Taiwan’s urban landscape, based on the architectural elements of the era when Big Mac was born. The most representative “iron flower window” of the era is used as the basis for the concept, combined with “flower bricks” and “embossed glass”, multi-materials and complex manufacturing, baking out this giant Big Mac installation. It’s like shuttling through the lanes where Taiwan’s old and new are intertwined, where color and light and shadow are intertwined, immersed in the warm impressions of condensed daily street scenes.

❮ Kaohsiung International Container Art Festival-Chuan Chuan ❯

People swim to the sea in a square frame, flowing between the ocean and the city. A container is the frame that roams with water. Water flow is the pen brush that reads the story of sea and harbour. Containers are beyond metal boxes to place and carry stock where people mingle feelings and dreams. Flow writing of a container starts from cities to cities endlessly. All kinds of stocks contain all kinds of possibilities. Containers symbolize immortal time and infinite connection among cities and nations. They become flows themselves and never stop writing tender poetry of time prevailing overseas. Here, the hard containers are cut and remoulded, as a result, transformed into soft lines and materials while time, space, people and landscape are various dimensions of the sculpture.