出生於臺東，成長、生活與工作於臺北。創作橫跨影像、雕塑與計畫性創作，長期關注臺灣原住民族在不可逆的現代化進程中，如何協調與處理自身於文化、社會及基本生存之間的狀態。
Born in Taitung; raised, based, and active in Taipei. Working across the mediums of video, sculpture, and project-based art, the artist has long focused on how Taiwan’s Indigenous peoples navigate and reconcile their cultural, social, and existential realities amidst the irreversible process of modernization.
您希望觀眾在作品前感受到什麼？或帶著什麼問題離開展場？
What do you hope audiences will feel in front of the work, or what questions do you hope they will leave the exhibition with?
我希望觀眾能放慢觀看的速度，重新思考那些被視為理所當然的歷史與自然。
I hope viewers will slow down and reconsider the histories and natural environments that are often taken for granted.
為什麼選擇透過工藝或手作技法來表現這個議題，而不是使用其他創作形式？
Why did you choose craft and handmaking techniques to address this issue, rather than other forms of artistic expression?
我並不太擅長工藝，創作的媒材也很多元，以當下認為適合的材料去進行。使用構樹皮也才從去年開始，至今做了三組作品，每組都是一個田野、探尋或合作的介面。而構樹皮這個媒材也是從我的「非洲大蝸牛」系列延伸而來。
I do not consider myself particularly skilled in craft, and I work with a wide range of media, choosing materials according to what feels appropriate at the time. I only began using paper mulberry bark last year and have since created three groups of works, each serving as a space for fieldwork, exploration, or collaboration. This material also developed from my “Giant African Snail” series.
當傳統文化、地方記憶或環境議題逐漸被淡忘時，您認為藝術與工藝能扮演什麼樣的角色？
As traditional culture, local memories, or environmental issues fade, what role can art and craft play?
我認為藝術與工藝不是保存過去，而是讓過去持續與現在對話。透過創作，那些逐漸消失的地方知識、族群記憶與自然環境，可以重新被感知、被討論，也被賦予新的意義。藝術無法阻止遺忘，但能創造再次相遇的機會。
in dialogue with the present. Through creation, fading local knowledge, cultural memories, and natural environments can be felt, discussed, and given new meaning. Art cannot stop forgetting, but it can create opportunities for us to encounter these things again.
構樹纖維與蝸牛黏液之間具有相互消解的關係，這項材料特性如何影響作品的形成與敘事？
The interaction between paper mulberry fiber and snail mucus involves a process of mutual dissolution. How does this material characteristic shape the work and its narrative?
外來入侵物種非洲大蝸牛有難以去除的黏液，而臺灣本土物種的構樹葉可以很輕鬆的消彌，對我而言，有解殖的象徵與啟發。
The African giant snail, an invasive species, produces a slime that is difficult to remove, yet the leaves of the paper mulberry, a species native to Taiwan, can easily eliminate it. To me, this carries a symbolic and inspiring sense of decolonization.
當非洲大蝸牛不只是外來種，也成為觀看人類遷徙與歷史遺緒的媒介時，您希望觀眾如何重新理解物種、土地與人的關係？
When the Giant African Snail becomes not only an invasive species but also a way of examining human migration and historical legacies, how do you hope audiences will reconsider the relationship between species, land, and people?
我希望觀眾意識到，沒有任何生命是在完全孤立的狀態下存在。人類的移動、殖民政策、貿易與戰爭，都深刻改變了物種的分布，也改變了土地的樣貌。當我們觀看非洲大蝸牛時，也是在觀看人類自身的歷史。我期待觀眾不再以「原生／外來」的二元分類理解世界，而是看見生命之間彼此交織、共同形塑環境的漫長過程。
I hope viewers recognize that no life exists in complete isolation. Human migration, colonial policies, trade, and war have all reshaped the distribution of species and the landscapes they inhabit. Looking at the Giant African Snail also means looking at our own history. Rather than understanding the world through a simple “native/foreign” divide, I hope viewers can see the long process through which different forms of life become intertwined and collectively shape the environment.
