Frieze Seoul 2024 installation view.
Photo courtesy of Gallery EXIT

Artist in Residence: Studio space in Robinson College University of Cambridge

Cosmic Harmony
《宇宙有某種和諧存在於形狀和大小之間》

"Liminal Interval"「暮醒朦朧」 Installation view. Photo courtesy of Gallery EXIT

“of war, of love, of time” Installation shot. Photo courtesy of Peter Augustus Gallery | Photo/ Kevin TODORA

"Panasea" 「萬靈藥」 Installation view. Photo courtesy of Gallery EXIT

"So I say, "It’s a landscape painting.”" 「而我會說：「這是一幅風景畫。」 Installation view

"The Unsung" 「韌生」 Installation view. Photo courtesy of Tai Kwun. Photo: South Ho

The visitor to the gallery lays his face on the rail before him 頂層樓座上的看客將臉往護欄上一擱, 2020, Oil pastel on canvas, 200 x 160 cm

But in the end they buried him here 最後才把他埋在了這兒, 2020, Oil pastel on canvas, 200 x 160 cm

Awake 10 甦生 10, 2020, Oil pastel on canvas, 50 x 60cm

Awake 9 甦生 9
2020
Oil pastel on canvas
50 x 60cm

Awake 7 甦生 7
2020
Oil pastel on canvas
50 x 60cm

"In the course of Dancing, from Nightfall to Darkness" 「愈夜．舞」 Installation view

Awake 5 甦生 5
2020
Oil pastel on canvas
35 x 27 cm

Awake 4 甦生 4
2020
Oil pastel on canvas
35 x 27 cm

Root 2 根 2
2020
Oil pastel on canvas
180 x 140 cm

"This Bitter Earth" Installation view

Awake 3 甦生 3
2019
Oil pastel on canvas
180 x 140 cm

Awake 2 甦生 2
2019
Oil pastel on cardboard
51 x 38 cm

Asleep 28, 睡眠 28, 2019, Oil pastel on wood panel, 100 x 162cm (2 panels)

Asleep 27 睡眠 27, 2019, Oil pastel on canvas, 180 x 140cm

Awake 1 甦生 1, 2019, Oil pastel on canvas, 90 x 90cm

Six little trees in front of the library 2 藏書閣前六棵小樹 2
2019
Oil pastel on canvas
60 x 50 cm

Six little trees in front of the library 1 藏書閣前六棵小樹 1
2019
Oil pastel on canvas
60 x 50 cm

Asleep 26 睡眠 26
2019
Oil pastel on canvas
30 x 40 cm

Asleep 25 睡眠 25
2019
Oil pastel on canvas
30 x 40 cm

Asleep 24 睡眠 24
2019
Oil pastel on canvas
30 x 40 cm

Asleep 22 睡眠 22, 2019, Oil pastel on wood panel, 40 x 60cm

"An on-going balance of insecurity" 「平衡不安進行中」 Installation view

"Social Transformations" Installation view

"Eyes of Ravens Raiser" 「啄眼的烏鴉」 Installation view

Le Mal, Double (and Hallucination) III
​惡痛與分身（與幻覺）・三

2018
Lightbox acrylic sheet, LED lights, motor, wooden box
燈箱膠片，LED燈，摩打，木盒
​33 x 33 x 68cm (each)

Le Mal, Double (and Hallucination) II
​惡痛與分身（與幻覺）・二

2018
Lightbox acrylic sheet, LED lights, motor, wooden box
燈箱膠片，LED燈，摩打，木盒
​33 x 33 x 68cm (each)

Le Mal, Double (and Hallucination) I
​惡痛與分身（與幻覺）・一

2018
Lightbox acrylic sheet, LED lights, motor, wooden box
燈箱膠片，LED燈，摩打，木盒
​33 x 33 x 68cm (each)

Eyes of Ravens Raiser III
養鴉人之眼・三
2018
Coloured pencil and tape on paper
木顏色與紙膠帶紙本
79 x 110 cm

When someone of a family is dying, others would say “it’s good”, they have no fear of death. Li Xianting wrote in foreword, On The Road, Lu Nan.

「當一家有人要死的時候，別人會說太好了，他們不恐懼死亡。」—栗憲庭，呂楠《在路上》，序言

Eyes of Ravens Raiser II
養鴉人之眼・二
2018
Coloured pencil and tape on paper
木顏色與紙膠帶紙本
79 x 110 cm

When someone of a family is dying, others would say “it’s good”, they have no fear of death. Li Xianting wrote in foreword, On The Road, Lu Nan.

「當一家有人要死的時候，別人會說太好了，他們不恐懼死亡。」—栗憲庭，呂楠《在路上》，序言

Eyes of Ravens Raiser I
養鴉人之眼・一
2018
Coloured pencil and tape on paper
木顏色與紙膠帶紙本
79 x 110 cm

When someone of a family is dying, others would say “it’s good”, they have no fear of death. Li Xianting wrote in foreword, On The Road, Lu Nan.

「當一家有人要死的時候，別人會說太好了，他們不恐懼死亡。」—栗憲庭，呂楠《在路上》，序言

Deep Silence installation view

Myrrh (No medicine) 沒藥, 2016, Mixed media, 30 x 30 x 15cm

Mountain oh mountain III
山又山・三
2016
Coloured pencil and tape on paper
138.5 x 88cm

/ The most painful torture is one’s imagination of others’ trauma. /

／最　痛　苦　是　自　我　對　他　人　痛　苦　的　想　像／

Mountain oh mountain II
山又山・二
2016
Coloured pencil and tape on paper
151 x 152cm

The suffering of others is like a mountain./Never will you get over it./Never will you bear it./The most painful torture is one¹s imagination of others’ trauma.

他人的苦難是高山／你永遠不能跨越／你永遠無法承擔

Mountain oh mountain I
山又山・一
2016
Coloured pencil and tape on paper
138.5 x 88cm

“On the most fundamental level there are transitions from continuous to discontinuous or from discontinuous to continuous. We are discontinuous beings, individuals who perish in isolation in the midst of an incomprehensible adventure, but we yearn for our lost continuity.” —Erotism: death and sensuality, Georges Bataille

「生命中最根本的變化是從連貫到不連貫或者是從不連貫到連貫的過程。我們都是不連貫的生命、在無法理解的人生歷險中孤獨死亡的個體，但我們懷戀失去的連貫。」－《情色論》, 巴塔耶