Mixed media
Dimension variable
Flowers on a windowsill may be the only remaining trace of nature in a bustling urban home. We rarely know when or where they were grown—only that they came from a certain flower shop, quietly occupying a corner of the room. Yet within them lies a very ancient form of installation art.
There is a saying: “If life is unavoidable, then art is like flower arrangement.” Since the Sui dynasty, the idea and early form of ikebana have existed—bringing nature indoors, placing soil into a vessel, and arranging plants through an aesthetic process. When reread today, this old method of assembling elements reveals an unexpected contemporaneity.
I treat sculpture as a kind of flower arrangement, creating an outdoor work using materials gathered from the site. Some are natural; others are objects discarded or left behind by people. In this way, the vessel presents the appearance of nature as it is now—no longer a nature free from human traces. At this moment, in this place, these become “natural flowers.” I am arranging flowers in the field, beside human presence.
在窗台的花，也許是繁華都市住處裡僅餘的自然元素。不知道它們產於何時何地，只道是來自某某花店，靜俏俏地存在於房間一角，卻內藏著一種很古老的裝置藝術形式。
有道「生命若然無可避免，藝術在此就好比插花」。自隋代開始，就有了插花的意念和雛形，把自然納於住所，放入泥土於花盤，擺置的時候是講究美學的過程。這種古舊的拼合做法，重新閱讀下顯露出別格的當代性。
我將雕塑喻作插花，在戶外實行一個以撿拾在地物資的作品。原料有天然的，還有一些被人所丟下的，或遺下的部分。如此，花盤上呈現出目下自然的模樣，已經沒有完全排除人類氣息的自然了吧？何時何地，這是「自然的花卉」，我在人旁的原野裡插花。
