2002

material paradise
mixed media
Taipei Art Awards, Taipei Fine Arts Museum, Taipei, Taiwan
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material paradise
複合媒材
台北美術獎，台北市立美術館，台北，台灣

In the 17th century, collectors who were passionate about still-life paintings were often from the middle class. They sought decorative paintings featuring luxury objects to demonstrate their material wealth and to perceive their lives as akin to those of nobility. However, the aristocracy’s collection of still-life paintings was merely a means to flaunt their wealth, power, and knowledge.
In the 21st century, the endless cycle of reproduction and decoration upholds the doctrine of "aestheticism" between the virtual and the real. This series of works engages in a forceful dialogue with replicas through the use of ready-made objects, seeking harmony within conflict. It aims to reflect on human vanity, aesthetic identity, and the elusive nature of "beauty" within collective consciousness, while also reconsidering the functionality of artworks.

十七世紀時，樂衷於靜物畫的收藏家多屬於中產階級，他們需要畫有奢華物品的裝飾畫以證明他們握有這個物質世界，自覺生活如王侯貴族般。然而，王宮貴族收藏靜物畫的心態亦不過是為了炫耀自己的財富、權貴以及學問。

​二十一世紀的當下，無止盡的複製、無止盡的裝飾，都在虛擬與真實中秉持「唯美」的信條。本系列作品中運用現成物強勢向複製物對話，試圖從中尋求衝突的和諧以思考人對於虛榮、審美認同與大眾集體意識裡對「美感」隱晦不明及對藝術品之功能性的再省思。