「人」始終是我創作的核心。早期的創作從人物出發，透過繪畫與影像凝視人的表情、身體與姿態，如同以特寫鏡頭反覆靠近，試圖從細微的情緒與動作之中，理解個體內在的狀態，以及人與他人、家庭和外在世界之間的關係。
自2003年起，我逐漸以攝影機取代畫筆，開始錄像與實驗影像創作。鏡頭不只是觀看他人的方式，也成為回望自身的媒介。透過對人物的持續凝視，我重新面對過去的經驗，以及個體在不同關係與處境中的位置。此後，創作也逐漸延伸至攝影、拍立得、鐵絲、磁磚等不同媒材。
2012年前後，隨著生命角色與生活狀態的改變，我的創作開始轉向複合媒材與裝置。廢棄木料、舊衣物、布料、金屬、書籍，以及多年保存下來的日常物件陸續進入作品。切割、縫合、拼接與機械性的反覆運動，使原本具有特定功能與記憶的物件脫離既有的位置，在彼此碰撞與重新組合之間形成新的關係。
這些材料大多來自我過往的生活。孩子幼年使用過的物件、家人的衣物、閱讀過的書，以及那些曾被使用、保存甚至一度被丟棄的東西，都承載著不同的時間與記憶。對我而言，材料並非只是形式上的選擇；物件曾經如何被使用、與誰產生關係，以及時間在其上留下的痕跡，往往也是作品開始發生的地方。
近年的創作持續往返於個人經驗與外在世界之間，關注家庭、親密關係、性別、身體與時間，也思考人在不同生命階段中如何觀看自己，並重新理解自己與他人的關係。影像、現成物、手工縫製、木作與機械裝置在作品中彼此交錯，而「人」依然存在於其中——有時以具體的身體出現，有時則隱藏在物件所承載的記憶之中。
創作對我而言，是一種持續觀看的方式。從凝視他人，到回望自身，再從自身走向家庭與世界，我試圖在人的情感、關係與生命經驗之中，尋找那些尚未被說清楚的位置。
The human figure has remained central to my practice. My early works approached the figure through painting and moving image, focusing on expressions, bodily gestures, and postures with the intimacy of a close-up. Through sustained looking, I sought to trace less visible states that surface through the body and to consider how the individual is situated in relation to others, family, and the wider world.
From 2003 onward, the camera gradually took the place of the paintbrush as I began working with video and experimental moving image. The lens became both a way of looking outward and a means of turning that gaze back upon myself. Observing others led me to revisit my own experiences and reconsider the positions we occupy within shifting relationships and circumstances. Over time, this exploration extended into photography, Polaroid, wire, tiles, and other materials.
Around 2012, as my roles and circumstances in life began to shift, my practice moved increasingly toward mixed media and installation. Discarded wood, worn clothing, fabric, metal, books, and everyday objects accumulated and kept over many years began to enter the work. Through cutting, stitching, assembling, and repetitive mechanical movement, these objects are removed from their familiar functions and contexts. In their collisions and reconfigurations, new relationships begin to take shape.
Many of the materials I work with come directly from my own life: objects used by my child in early childhood, clothing once worn by family members, books I have read, and things that have been used, kept, or discarded. Each carries its own duration and residue of memory. Materials are therefore never merely formal choices. How an object has been used, the relationships it once belonged to, and the traces left by time often become the point from which a work begins.
My recent practice continues to move between personal experience and the world beyond it, engaging with family, intimacy, gender, the body, and time. I am interested in how we come to see ourselves differently through the stages of life, and how our relationships with others are continually understood and reconfigured. Moving image, found objects, hand stitching, woodworking, and mechanical structures intersect within the work. The human presence remains throughout—at times embodied in a recognisable figure, and at others residing quietly within the memories and histories carried by objects.
For me, making art is a continuing act of looking: from observing others to turning the gaze inward, and from the self outward again toward family and the wider world. Within human emotions, relationships, and lived experience, I continue to search for what remains unresolved and not yet fully articulated.