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These works treat space not as a neutral backdrop but as an active body that carries social, cultural, and political implications.
這些作品並未將空間視為中性的背景，而是作為一個能動的身體，承載著社會、文化與政治的意涵。 - Lin Chang-Rong Right page: Spatial Reality– Before Vanishing, 2025, Land art |
Hello Lin, thanks for taking your time to answer our questions. To start with, could you please introduce yourself and your work?
您好，感謝您撥空回答我們的問題。首先，能否請您先自我介紹並談談您的創作？
I am from Taiwan and work as a scholar, curator, artist, and designer, focusing on the complex relationships between contemporary society and the environment. I am currently a professor in the Department of Art Industry at National Taitung University, where I also served as department chair for six years.
我來自台灣，身兼學者、策展人、藝術家與設計師，主要關注當代社會與環境之間的複雜關係。現任國立臺東大學美術產業學系教授，並曾擔任該系主任長達六年。
My artistic practice spans a wide range of media, with a particular focus on site-specific installations that engage deeply with the natural environment. I am interested in how materiality, symbols, and space intertwine to construct multilayered narratives of power, identity, and memory. Combining academic research with artistic experimentation, I aim to reveal the subtle interactions between humanity and nature, while critically reflecting on how capitalism and the information age shape individual identity and social structures.
我的藝術實踐橫跨多種媒材，特別聚焦於與自然環境深度對話的現地特定裝置。我關心物質性、符號與空間如何交織，建構出關於權力、身份與記憶的多層次敘事。結合學術研究與藝術實驗，我試圖揭示人與自然之間細膩的互動，同時批判性地反思資本主義與資訊時代如何形塑個體身份與社會結構。
Many of my works convey the concept of “space as a body,” using minimal materials and symbolic gestures to construct poetic sensory realms that embody both the fragility and timelessness of space. These works invite viewers to reconsider their relationship with the environment and to sense the interwoven connections between nature and imagination, as well as between reality and fiction.
我的許多作品傳達「空間即身體」的概念，運用極簡的材料與象徵性的姿態，建構詩意的感官場域，呈現空間既脆弱又永恆的一面。這些作品邀請觀者重新思考自身與環境的關係，感受自然與想像、現實與虛構之間交織的聯繫。
Before speaking further about your work, let’s quickly go back in time for a moment. Do you remember the first time you got in touch with visual art?
在進一步談到您的創作之前，讓我們先稍微回到過去。您還記得第一次接觸到視覺藝術的時候嗎？
My first encounter with visual art began right at the doorstep of my childhood home, which was surrounded by the rural landscapes of my hometown. Growing up in such anatural environment, I often found myself observing the subtle changes in the seasons and the land. I would shape small three-dimensional forms out of the sandy soil in front of the house, or stack stones in the flowing streams nearby. In many ways, nature was my very first studio and playground for creation.
我第一次與視覺藝術的相遇，其實就發生在我童年家門口，四周環繞著家鄉的鄉村風景。成長於這樣的自然環境中，我常常觀察季節與土地的細微變化。我會用屋前的沙土捏塑出小小的立體形狀，或在附近流動的溪流裡堆疊石塊。某種程度上，大自然便是我最初的工作室，也是我的創作遊樂場。
At the beginning of our conversation you spoke about your interest in exploring themes of power, identity and memory, and I read that your work is deeply influenced by French philosopher Jean Baudrillard. Can you please tell us more about your work and his influence on it?
在我們的談話一開始，您提到了對「權力、身份與記憶」等主題的關注，我也讀到您的創作深受法國哲學家尚．布希亞（Jean Baudrillard）的影響。您能否多談一些您的作品以及他對您的影響？
That’s right, I am deeply influenced by the ideas of French philosopher Jean Baudrillard. He observed that as we follow global currents and become embedded in the world system, commodities and symbols function as instruments of power, reflecting the mechanisms of the market and the logic of capital. In this context, symbols no longer correspond to or conceal any concrete reality but instead become detached from their original referents. As a result, people are easily manipulated and controlled by information and media, gradually losing the ability to make independent judgments.
沒錯，我的確深受布希亞思想的影響。他觀察到，當我們隨著全球化浪潮而嵌入世界體系時，商品與符號便成為權力的工具，反映著市場的機制與資本的邏輯。在這樣的脈絡中，符號不再對應或隱蔽某種具體的現實，而是逐漸與其原初所指脫節。結果，人們很容易被資訊與媒體操控，逐漸失去獨立判斷的能力。
Through my art, I aim to awaken the viewer’s perception and critical thinking, encouraging them to explore, decode, and dismantle various “black boxes.” In doing so, I hope they can discern the truth of events for themselves and resist the pull of passive conformity. My recent Spatial Reality series is closely connected to these concerns. Working in vast and often extreme environments such as deserts, frozen lakes, and remote mountain landscapes, I use minimal materials such as strands of light, reflective surfaces, and subtle spatial interventions to reveal how perception can be shaped, framed, or distorted.
透過我的創作，我希望喚醒觀者的感知與批判思維，鼓勵他們去探索、解碼並拆解各種「黑箱」。在這個過程中，我希望他們能夠自行辨識事件的真相，並抵抗被動順從的吸引力。我近期的《空間真實》（Spatial Reality）系列便與這些關注緊密相關。在廣闊且往往極端的環境中——例如沙漠、冰封的湖面或偏遠的山岳地景——我使用光束、反射表面以及細微的空間介入等極簡的材料，去揭示感知如何被形塑、被框定，甚至被扭曲。
“These works treat space not as a neutral backdrop but as an active body that carries social, cultural, and political implications.”
「這些作品並未將空間視為中性的背景，而是作為一個能動的身體，承載著社會、文化與政治的意涵。」
By creating situations where the boundary between reality and its representation becomes fluid, the series invites viewers to question what is seen, what is hidden, and how meaning is constructed within the spaces we inhabit.
透過營造現實與再現邊界流動的情境，這個系列邀請觀者去質疑：什麼是被看見的？什麼是被隱藏的？以及意義如何在我們所處的空間中被建構出來。
You just mentioned treating space not as a neutral backdrop but as an active body and and I’m curious to hear more about that. Where does your interest in space come from and could you please expland on the role that spatiality plays in your pieces?
您剛剛提到「將空間視為一個能動的身體，而非中性的背景」，這讓我很好奇。您對空間的興趣源自何處？能否再談談空間性在您作品中的角色？
“From an early age, I have regarded the environment itself as my creative arena, with space serving as a material in its own right.”
「從小以來，我便將環境本身視為我的創作場域，並把空間當作一種獨立的材料。」
Even in my doctoral dissertation, I explored the aesthetics of urban design in Taiwan through Roland Barthes’ concept of “text,” positioning the urban designer as the “author,” the urban space as the “text,” and the residents as its “readers.” From this perspective, the arrangement of objects and the composition of space can be seen as a form of artistic creation. In my recent work, whether land art, public art, or even ceramics, spatiality remains central. I consider the relationship between the work and its surroundings carefully, allowing space to become not merely a backdrop, but an integral, inseparable part of the piece.
甚至在我的博士論文中，我也透過羅蘭．巴特的「文本」概念來探討台灣的都市設計美學，將都市設計師定位為「作者」，都市空間作為「文本」，而居民則是「讀者」。在這樣的視角下，物件的排列與空間的構成都可被視為一種藝術創作。在我近期的作品中，無論是地景藝術、公共藝術，甚至是陶瓷，空間性始終是核心。我仔細思考作品與周遭環境的關係，讓空間不再只是背景，而是作品不可分割的核心部分。
Back to your project Spatial Reality now—can you tell us more about the process behind it? How, when and where did you bring it to life?
回到您的《空間真實》計畫——您能否多談一些它背後的創作過程？您是如何、何時、在哪裡將它實現的呢？
This work is part of a series I began during my residency in Finland from late 2023 to early 2024. Creating in a completely different country meant that the work had to diverge from what I had made back home, which pushed me toward bolder and more experimental ideas. January in Finland is the coldest time of the year, and with the country’s reputation as “the land of a thousand lakes,” I was inspired to work directly on a frozen lake. By summer, the same location transforms back into open water, making it a fascinating and ephemeral exhibition space.
這件作品是我在 2023 年底至 2024 年初於芬蘭駐村時所展開的一個系列的一部分。身處一個完全不同的國度，意味著作品必須與我在家鄉所做的有所區別，也因此推動我走向更大膽、更具實驗性的想法。芬蘭的一月是一年中最寒冷的時期，而這個「千湖之國」的特質也啟發我直接在冰封的湖面上創作。到了夏天，同一地點又會回復成開放的水域，使其成為一個既迷人又短暫的展演空間。
The process involved extensive experimentation and spatial exploration. I tested the thickness and safety of the ice by tapping and drilling into it, experimented with how light appeared under varying layers of snow, and observed how weather changes and snowmelt affected the work. I found that the best conditions required extreme cold and fresh snowfall. However, the low temperatures also drained the batteries of my cameras and drones quickly, which meant I had to warm them using my own body heat.
整個過程包含大量的實驗與空間探索。我透過敲擊與鑽探來測試冰層的厚度與安全性，嘗試觀察光線在不同層次積雪下的呈現方式，並記錄天氣變化與雪融對作品的影響。我發現最佳的創作條件需要極度的嚴寒與新降的積雪。然而，低溫同時也會很快耗盡相機與無人機的電力，因此我不得不用自己的體溫為電池加熱。
Because I was working alone on the frozen lake, I would tell the other resident artists before leaving that if I was not back in three hours, they should come find me on the lake. This was said half-jokingly but also with genuine concern for my safety. I carried an array of equipment including drones, a 360-degree camera, a DSLR, a phone, and multiple tripods, positioning them at different angles to capture the creation process.
因為我獨自在冰湖上工作，所以出發前我會半開玩笑、又帶著真心地告訴其他駐村藝術家：「如果三小時內我沒有回來，就請到湖上來找我。」我隨身攜帶各種器材，包括無人機、360 度相機、單眼相機、手機，以及多個腳架，並將它們安置在不同角度，以完整捕捉整個創作過程。
That sounds like a very unique and adventurous experience. Was there any moment during the residency you’d say you treasure the most?
那聽起來真的是一次非常獨特而充滿冒險的經驗。在駐村期間，有沒有哪個時刻是您特別珍惜的？
One of the moments I treasure most was lying alone at night in the middle of the frozen lake, gazing up at the stars. The world felt completely silent and free from human interference, allowing me to listen to the subtle sounds of nature. I see space as a living body, and by immersing ourselves within it, we experience its authenticity. This authenticity emerges from the interaction between the individual and the environment’s character, essence, and atmosphere.
我最珍惜的時刻之一，是夜裡獨自躺在冰封湖面的中央，仰望星空。世界顯得完全靜止，沒有任何人為的干擾，讓我能聆聽到自然最細微的聲音。我將空間視為一個有生命的身體，而當我們將自己沉浸其中時，便能體驗到它的真實。這種真實性，源自於個體與環境的特質、本質與氛圍之間的互動。
“The cold, steady surface of the lake, stretching from beneath my body to the expanse of the night sky, connected imagined space with tangible reality, allowing both to coexist.”
「湖面冰冷而穩定的表層，從我的身體下方延伸至廣闊的夜空，將想像的空間與具體的現實連結在一起，讓兩者得以共存。」
Let’s stick with the creative process for another question—do you follow any routines or habits that help stimulate your creative work?
讓我們繼續談談創作過程——您是否有一些慣例或習慣，能幫助您激發創作靈感？
Traveling and spending time in nature, as well as allowing myself moments of complete stillness, have become essential parts of my creative routine. Traveling allows me to step outside the familiar frameworks of daily life, encounter different cultures, landscapes, and people, and gain fresh perspectives and ideas. Immersing myself in natural environments, whether in the mountains, by a river, or within vast open landscapes, helps me reset my senses and tune in to the sounds, scents, and shifting light of the surroundings. Equally important is the act of emptying my mind. This period of stillness gives my thoughts the chance to settle and reorganize. Often, genuine creativity does not emerge under pressure but surfaces naturally in moments that seem unproductive on the surface. These habits help me maintain an open mindset and a heightened sensitivity whenever I return to the process of making art.
旅行、親近自然，以及給自己完全靜止的時刻，已經成為我創作日常中不可或缺的一部分。旅行能讓我跳脫日常生活熟悉的框架，去遇見不同的文化、地景與人群，從而獲得新的觀點與靈感。沉浸於自然環境中，無論是在山中、河畔，還是廣闊的開放地景裡，都能幫助我重整感官，重新傾聽周遭的聲音、氣息與流動的光線。同樣重要的，還有讓自己心靈「清空」的時刻。這段靜止期讓思緒得以沉澱與重新組織。往往真正的創意並不是在壓力下誕生，而是在那些表面上看似「無所事事」的時刻自然浮現。這些習慣讓我在回到創作現場時，始終保持開放的心態與更敏銳的感知。
Parallel to your work as an artist, you’re also a professor at National Taitung University in Taiwan. How does teaching influence your art practice and vice versa?
與藝術創作並行，您同時也是臺東大學的教授。教學如何影響您的藝術實踐？反過來，藝術又如何影響您的教學？
As a university professor, I believe my role goes far beyond lecturing in the classroom or guiding students through studio exercises. I actively involve them in real-world projects such as curating exhibitions, managing cultural programs, and participating in my own art productions so they can experience firsthand how different kinds of projects operate. These opportunities not only broaden their understanding but also enrich their professional experience. For me, art-making and teaching are inseparable; they constantly inform and inspire each other.
作為一名大學教授，我相信我的角色遠遠不只是課堂上的講授或帶領學生做工作室練習。我會積極讓他們參與真實世界的專案，例如策劃展覽、執行文化計畫，甚至參與我的藝術製作，讓他們能親身體驗不同類型專案的運作方式。這些機會不僅拓展了他們的理解，也豐富了他們的專業經驗。對我來說，創作與教學是不可分割的，它們不斷彼此啟發、相互滋養。
We’re already approaching the end of our conversation, so I have a few last questions for you. First, is there any advice you’ve been given that you’d like to pass on to fellow artists, especially to those just starting out?
我們的對話已經接近尾聲，所以還有幾個最後的問題。首先，有沒有什麼建議是您曾經得到的，而您想要傳遞給其他藝術家，特別是剛起步的創作者？
There is a saying that “failure is the mother of success.” Many of my creative breakthroughs have been built upon lessons learned from repeated failures, whether in experimenting with materials, achieving the desired presentation, or finding effective ways to convey an idea. These imperfect moments are valuable, and I encourage others to accept and embrace them, as they will ultimately make you stronger.
有一句話說：「失敗是成功之母。」我許多創作上的突破，都是建立在一次又一次失敗中所學到的經驗之上，無論是材料實驗、展演呈現的效果，或是尋找更有效的表達方式。這些不完美的時刻其實非常寶貴，我鼓勵大家去接受甚至擁抱它們，因為最終它們會讓你更堅強。
Next, when you are the viewer and not the author of an artwork, what is it that draws you towards a piece of art?
那麼，當您不是藝術品的作者，而是觀者時，什麼樣的作品最能吸引您？
I am most drawn to works that resonate with my own experiences or emotions. This sense of resonance does not necessarily come from the subject matter itself; it can also emerge from the sincerity and depth the artist conveys, or from an atmosphere that is difficult to articulate yet profoundly moving.
我最被那些能與自身經驗或情感產生共鳴的作品所吸引。這種共鳴不一定來自作品的主題本身，它也可能來自藝術家所傳達的真誠與深度，或是一種難以言喻卻深刻動人的氛圍。
I am particularly interested in works that challenge my perceptions or offer new ways of seeing the world. Whether through the transformation of space, the use of materials, or an interpretation of time and memory, such works reveal the artist’s unique observation of life and the world. When a piece engages me on a sensory level and also sparks an ongoing dialogue in my mind, I find it worth pausing for and exploring in depth.
我特別對那些能挑戰我感知，或提供我觀看世界的新方式的作品感興趣。無論是透過空間的轉化、材料的運用，或是對時間與記憶的詮釋，這些作品都展現了藝術家對生命與世界的獨特觀察。當一件作品能在感官上吸引我，並同時在心中引發持續的對話時，我會認為它值得停留與深入探究。
And, finally, what are your hopes and dreams for the future?
最後，您對未來有什麼期望與夢想？
My dream is to travel the world, and I hope to realize this through art by participating in residencies and exhibitions in different countries. Immersing myself in new environments and engaging with diverse cultures will continue to bring fresh perspectives and ideas into my work.
我的夢想是能環遊世界，而我希望能透過藝術來實現這一點，參與不同國家的駐村與展覽。沉浸於新的環境並與多元文化交流，將不斷為我的創作帶來新鮮的視角與靈感。
您好，感謝您撥空回答我們的問題。首先，能否請您先自我介紹並談談您的創作？
I am from Taiwan and work as a scholar, curator, artist, and designer, focusing on the complex relationships between contemporary society and the environment. I am currently a professor in the Department of Art Industry at National Taitung University, where I also served as department chair for six years.
我來自台灣，身兼學者、策展人、藝術家與設計師，主要關注當代社會與環境之間的複雜關係。現任國立臺東大學美術產業學系教授，並曾擔任該系主任長達六年。
My artistic practice spans a wide range of media, with a particular focus on site-specific installations that engage deeply with the natural environment. I am interested in how materiality, symbols, and space intertwine to construct multilayered narratives of power, identity, and memory. Combining academic research with artistic experimentation, I aim to reveal the subtle interactions between humanity and nature, while critically reflecting on how capitalism and the information age shape individual identity and social structures.
我的藝術實踐橫跨多種媒材，特別聚焦於與自然環境深度對話的現地特定裝置。我關心物質性、符號與空間如何交織，建構出關於權力、身份與記憶的多層次敘事。結合學術研究與藝術實驗，我試圖揭示人與自然之間細膩的互動，同時批判性地反思資本主義與資訊時代如何形塑個體身份與社會結構。
Many of my works convey the concept of “space as a body,” using minimal materials and symbolic gestures to construct poetic sensory realms that embody both the fragility and timelessness of space. These works invite viewers to reconsider their relationship with the environment and to sense the interwoven connections between nature and imagination, as well as between reality and fiction.
我的許多作品傳達「空間即身體」的概念，運用極簡的材料與象徵性的姿態，建構詩意的感官場域，呈現空間既脆弱又永恆的一面。這些作品邀請觀者重新思考自身與環境的關係，感受自然與想像、現實與虛構之間交織的聯繫。
Before speaking further about your work, let’s quickly go back in time for a moment. Do you remember the first time you got in touch with visual art?
在進一步談到您的創作之前，讓我們先稍微回到過去。您還記得第一次接觸到視覺藝術的時候嗎？
My first encounter with visual art began right at the doorstep of my childhood home, which was surrounded by the rural landscapes of my hometown. Growing up in such anatural environment, I often found myself observing the subtle changes in the seasons and the land. I would shape small three-dimensional forms out of the sandy soil in front of the house, or stack stones in the flowing streams nearby. In many ways, nature was my very first studio and playground for creation.
我第一次與視覺藝術的相遇，其實就發生在我童年家門口，四周環繞著家鄉的鄉村風景。成長於這樣的自然環境中，我常常觀察季節與土地的細微變化。我會用屋前的沙土捏塑出小小的立體形狀，或在附近流動的溪流裡堆疊石塊。某種程度上，大自然便是我最初的工作室，也是我的創作遊樂場。
At the beginning of our conversation you spoke about your interest in exploring themes of power, identity and memory, and I read that your work is deeply influenced by French philosopher Jean Baudrillard. Can you please tell us more about your work and his influence on it?
在我們的談話一開始，您提到了對「權力、身份與記憶」等主題的關注，我也讀到您的創作深受法國哲學家尚．布希亞（Jean Baudrillard）的影響。您能否多談一些您的作品以及他對您的影響？
That’s right, I am deeply influenced by the ideas of French philosopher Jean Baudrillard. He observed that as we follow global currents and become embedded in the world system, commodities and symbols function as instruments of power, reflecting the mechanisms of the market and the logic of capital. In this context, symbols no longer correspond to or conceal any concrete reality but instead become detached from their original referents. As a result, people are easily manipulated and controlled by information and media, gradually losing the ability to make independent judgments.
沒錯，我的確深受布希亞思想的影響。他觀察到，當我們隨著全球化浪潮而嵌入世界體系時，商品與符號便成為權力的工具，反映著市場的機制與資本的邏輯。在這樣的脈絡中，符號不再對應或隱蔽某種具體的現實，而是逐漸與其原初所指脫節。結果，人們很容易被資訊與媒體操控，逐漸失去獨立判斷的能力。
Through my art, I aim to awaken the viewer’s perception and critical thinking, encouraging them to explore, decode, and dismantle various “black boxes.” In doing so, I hope they can discern the truth of events for themselves and resist the pull of passive conformity. My recent Spatial Reality series is closely connected to these concerns. Working in vast and often extreme environments such as deserts, frozen lakes, and remote mountain landscapes, I use minimal materials such as strands of light, reflective surfaces, and subtle spatial interventions to reveal how perception can be shaped, framed, or distorted.
透過我的創作，我希望喚醒觀者的感知與批判思維，鼓勵他們去探索、解碼並拆解各種「黑箱」。在這個過程中，我希望他們能夠自行辨識事件的真相，並抵抗被動順從的吸引力。我近期的《空間真實》（Spatial Reality）系列便與這些關注緊密相關。在廣闊且往往極端的環境中——例如沙漠、冰封的湖面或偏遠的山岳地景——我使用光束、反射表面以及細微的空間介入等極簡的材料，去揭示感知如何被形塑、被框定，甚至被扭曲。
“These works treat space not as a neutral backdrop but as an active body that carries social, cultural, and political implications.”
「這些作品並未將空間視為中性的背景，而是作為一個能動的身體，承載著社會、文化與政治的意涵。」
By creating situations where the boundary between reality and its representation becomes fluid, the series invites viewers to question what is seen, what is hidden, and how meaning is constructed within the spaces we inhabit.
透過營造現實與再現邊界流動的情境，這個系列邀請觀者去質疑：什麼是被看見的？什麼是被隱藏的？以及意義如何在我們所處的空間中被建構出來。
You just mentioned treating space not as a neutral backdrop but as an active body and and I’m curious to hear more about that. Where does your interest in space come from and could you please expland on the role that spatiality plays in your pieces?
您剛剛提到「將空間視為一個能動的身體，而非中性的背景」，這讓我很好奇。您對空間的興趣源自何處？能否再談談空間性在您作品中的角色？
“From an early age, I have regarded the environment itself as my creative arena, with space serving as a material in its own right.”
「從小以來，我便將環境本身視為我的創作場域，並把空間當作一種獨立的材料。」
Even in my doctoral dissertation, I explored the aesthetics of urban design in Taiwan through Roland Barthes’ concept of “text,” positioning the urban designer as the “author,” the urban space as the “text,” and the residents as its “readers.” From this perspective, the arrangement of objects and the composition of space can be seen as a form of artistic creation. In my recent work, whether land art, public art, or even ceramics, spatiality remains central. I consider the relationship between the work and its surroundings carefully, allowing space to become not merely a backdrop, but an integral, inseparable part of the piece.
甚至在我的博士論文中，我也透過羅蘭．巴特的「文本」概念來探討台灣的都市設計美學，將都市設計師定位為「作者」，都市空間作為「文本」，而居民則是「讀者」。在這樣的視角下，物件的排列與空間的構成都可被視為一種藝術創作。在我近期的作品中，無論是地景藝術、公共藝術，甚至是陶瓷，空間性始終是核心。我仔細思考作品與周遭環境的關係，讓空間不再只是背景，而是作品不可分割的核心部分。
Back to your project Spatial Reality now—can you tell us more about the process behind it? How, when and where did you bring it to life?
回到您的《空間真實》計畫——您能否多談一些它背後的創作過程？您是如何、何時、在哪裡將它實現的呢？
This work is part of a series I began during my residency in Finland from late 2023 to early 2024. Creating in a completely different country meant that the work had to diverge from what I had made back home, which pushed me toward bolder and more experimental ideas. January in Finland is the coldest time of the year, and with the country’s reputation as “the land of a thousand lakes,” I was inspired to work directly on a frozen lake. By summer, the same location transforms back into open water, making it a fascinating and ephemeral exhibition space.
這件作品是我在 2023 年底至 2024 年初於芬蘭駐村時所展開的一個系列的一部分。身處一個完全不同的國度，意味著作品必須與我在家鄉所做的有所區別，也因此推動我走向更大膽、更具實驗性的想法。芬蘭的一月是一年中最寒冷的時期，而這個「千湖之國」的特質也啟發我直接在冰封的湖面上創作。到了夏天，同一地點又會回復成開放的水域，使其成為一個既迷人又短暫的展演空間。
The process involved extensive experimentation and spatial exploration. I tested the thickness and safety of the ice by tapping and drilling into it, experimented with how light appeared under varying layers of snow, and observed how weather changes and snowmelt affected the work. I found that the best conditions required extreme cold and fresh snowfall. However, the low temperatures also drained the batteries of my cameras and drones quickly, which meant I had to warm them using my own body heat.
整個過程包含大量的實驗與空間探索。我透過敲擊與鑽探來測試冰層的厚度與安全性，嘗試觀察光線在不同層次積雪下的呈現方式，並記錄天氣變化與雪融對作品的影響。我發現最佳的創作條件需要極度的嚴寒與新降的積雪。然而，低溫同時也會很快耗盡相機與無人機的電力，因此我不得不用自己的體溫為電池加熱。
Because I was working alone on the frozen lake, I would tell the other resident artists before leaving that if I was not back in three hours, they should come find me on the lake. This was said half-jokingly but also with genuine concern for my safety. I carried an array of equipment including drones, a 360-degree camera, a DSLR, a phone, and multiple tripods, positioning them at different angles to capture the creation process.
因為我獨自在冰湖上工作，所以出發前我會半開玩笑、又帶著真心地告訴其他駐村藝術家：「如果三小時內我沒有回來，就請到湖上來找我。」我隨身攜帶各種器材，包括無人機、360 度相機、單眼相機、手機，以及多個腳架，並將它們安置在不同角度，以完整捕捉整個創作過程。
That sounds like a very unique and adventurous experience. Was there any moment during the residency you’d say you treasure the most?
那聽起來真的是一次非常獨特而充滿冒險的經驗。在駐村期間，有沒有哪個時刻是您特別珍惜的？
One of the moments I treasure most was lying alone at night in the middle of the frozen lake, gazing up at the stars. The world felt completely silent and free from human interference, allowing me to listen to the subtle sounds of nature. I see space as a living body, and by immersing ourselves within it, we experience its authenticity. This authenticity emerges from the interaction between the individual and the environment’s character, essence, and atmosphere.
我最珍惜的時刻之一，是夜裡獨自躺在冰封湖面的中央，仰望星空。世界顯得完全靜止，沒有任何人為的干擾，讓我能聆聽到自然最細微的聲音。我將空間視為一個有生命的身體，而當我們將自己沉浸其中時，便能體驗到它的真實。這種真實性，源自於個體與環境的特質、本質與氛圍之間的互動。
“The cold, steady surface of the lake, stretching from beneath my body to the expanse of the night sky, connected imagined space with tangible reality, allowing both to coexist.”
「湖面冰冷而穩定的表層，從我的身體下方延伸至廣闊的夜空，將想像的空間與具體的現實連結在一起，讓兩者得以共存。」
Let’s stick with the creative process for another question—do you follow any routines or habits that help stimulate your creative work?
讓我們繼續談談創作過程——您是否有一些慣例或習慣，能幫助您激發創作靈感？
Traveling and spending time in nature, as well as allowing myself moments of complete stillness, have become essential parts of my creative routine. Traveling allows me to step outside the familiar frameworks of daily life, encounter different cultures, landscapes, and people, and gain fresh perspectives and ideas. Immersing myself in natural environments, whether in the mountains, by a river, or within vast open landscapes, helps me reset my senses and tune in to the sounds, scents, and shifting light of the surroundings. Equally important is the act of emptying my mind. This period of stillness gives my thoughts the chance to settle and reorganize. Often, genuine creativity does not emerge under pressure but surfaces naturally in moments that seem unproductive on the surface. These habits help me maintain an open mindset and a heightened sensitivity whenever I return to the process of making art.
旅行、親近自然，以及給自己完全靜止的時刻，已經成為我創作日常中不可或缺的一部分。旅行能讓我跳脫日常生活熟悉的框架，去遇見不同的文化、地景與人群，從而獲得新的觀點與靈感。沉浸於自然環境中，無論是在山中、河畔，還是廣闊的開放地景裡，都能幫助我重整感官，重新傾聽周遭的聲音、氣息與流動的光線。同樣重要的，還有讓自己心靈「清空」的時刻。這段靜止期讓思緒得以沉澱與重新組織。往往真正的創意並不是在壓力下誕生，而是在那些表面上看似「無所事事」的時刻自然浮現。這些習慣讓我在回到創作現場時，始終保持開放的心態與更敏銳的感知。
Parallel to your work as an artist, you’re also a professor at National Taitung University in Taiwan. How does teaching influence your art practice and vice versa?
與藝術創作並行，您同時也是臺東大學的教授。教學如何影響您的藝術實踐？反過來，藝術又如何影響您的教學？
As a university professor, I believe my role goes far beyond lecturing in the classroom or guiding students through studio exercises. I actively involve them in real-world projects such as curating exhibitions, managing cultural programs, and participating in my own art productions so they can experience firsthand how different kinds of projects operate. These opportunities not only broaden their understanding but also enrich their professional experience. For me, art-making and teaching are inseparable; they constantly inform and inspire each other.
作為一名大學教授，我相信我的角色遠遠不只是課堂上的講授或帶領學生做工作室練習。我會積極讓他們參與真實世界的專案，例如策劃展覽、執行文化計畫，甚至參與我的藝術製作，讓他們能親身體驗不同類型專案的運作方式。這些機會不僅拓展了他們的理解，也豐富了他們的專業經驗。對我來說，創作與教學是不可分割的，它們不斷彼此啟發、相互滋養。
We’re already approaching the end of our conversation, so I have a few last questions for you. First, is there any advice you’ve been given that you’d like to pass on to fellow artists, especially to those just starting out?
我們的對話已經接近尾聲，所以還有幾個最後的問題。首先，有沒有什麼建議是您曾經得到的，而您想要傳遞給其他藝術家，特別是剛起步的創作者？
There is a saying that “failure is the mother of success.” Many of my creative breakthroughs have been built upon lessons learned from repeated failures, whether in experimenting with materials, achieving the desired presentation, or finding effective ways to convey an idea. These imperfect moments are valuable, and I encourage others to accept and embrace them, as they will ultimately make you stronger.
有一句話說：「失敗是成功之母。」我許多創作上的突破，都是建立在一次又一次失敗中所學到的經驗之上，無論是材料實驗、展演呈現的效果，或是尋找更有效的表達方式。這些不完美的時刻其實非常寶貴，我鼓勵大家去接受甚至擁抱它們，因為最終它們會讓你更堅強。
Next, when you are the viewer and not the author of an artwork, what is it that draws you towards a piece of art?
那麼，當您不是藝術品的作者，而是觀者時，什麼樣的作品最能吸引您？
I am most drawn to works that resonate with my own experiences or emotions. This sense of resonance does not necessarily come from the subject matter itself; it can also emerge from the sincerity and depth the artist conveys, or from an atmosphere that is difficult to articulate yet profoundly moving.
我最被那些能與自身經驗或情感產生共鳴的作品所吸引。這種共鳴不一定來自作品的主題本身，它也可能來自藝術家所傳達的真誠與深度，或是一種難以言喻卻深刻動人的氛圍。
I am particularly interested in works that challenge my perceptions or offer new ways of seeing the world. Whether through the transformation of space, the use of materials, or an interpretation of time and memory, such works reveal the artist’s unique observation of life and the world. When a piece engages me on a sensory level and also sparks an ongoing dialogue in my mind, I find it worth pausing for and exploring in depth.
我特別對那些能挑戰我感知，或提供我觀看世界的新方式的作品感興趣。無論是透過空間的轉化、材料的運用，或是對時間與記憶的詮釋，這些作品都展現了藝術家對生命與世界的獨特觀察。當一件作品能在感官上吸引我，並同時在心中引發持續的對話時，我會認為它值得停留與深入探究。
And, finally, what are your hopes and dreams for the future?
最後，您對未來有什麼期望與夢想？
My dream is to travel the world, and I hope to realize this through art by participating in residencies and exhibitions in different countries. Immersing myself in new environments and engaging with diverse cultures will continue to bring fresh perspectives and ideas into my work.
我的夢想是能環遊世界，而我希望能透過藝術來實現這一點，參與不同國家的駐村與展覽。沉浸於新的環境並與多元文化交流，將不斷為我的創作帶來新鮮的視角與靈感。
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