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Choices
這是一個以「觀者參與作品」的深入性來探討「人生抉擇」的系列作品。
人的一生需要面對無處不在的選擇，有些是習以為常的雞毛小事，有些則帶有巨大聯動性。舉凡大事小事，都連繫著不同程度的風險，這些風險則是由自身對不同事情的抉擇而產生的，也可稱這些抉擇為「人生的博弈」。
無處不風險，人生的不同分支以無限的博弈面向區分。縱使你正視或忽視它們，也將把你導向一處分支。如同人們看到這些文字，進而選擇閱讀並嘗試理解，這便是其一選項。
人們可以選擇不參與自己的人生嗎？不能，每個人的人生本就存在，並且無法否認，必定需要為此參與各種選擇。人們可以不做選擇，但「不做選擇」其實也是一種選擇，它包含在參與的過程中。
This is a series of works that explore "life choices" through the depth of "audience participation in the artwork."
People face ubiquitous choices in life, some common and mundane, some harboring great influences. All events, major or minor, involve different levels of risk, and these risks are created by different choices. They can be called "gambles of life."
Risks are everywhere. The different branches of life are differentiated by infinite gambles. One will still be directed down a branch no matter if they accept or ignore the gamble.
Can one choose not to participate in their own life? No, as their own existence and subsequently the process of living cannot be forgone. Thus, it is imperative for one to participate in a multitude of choices. People can choose not to make choices, but "not to choose" is paradoxically a choice in itself, which in turn is an act of participation.
博弈箱 — 繪畫裝置
作品的型態為「博弈箱」，封閉的箱子內，帶有恐懼、神秘、未知的性質，人生在進行各種抉擇時，雖能大概推測不同選項所衍伸出來的事件，但也無法百分百明瞭未知。箱上有個洞口，觀者可以決定是否從洞口竊看箱內容，選擇觀測箱內景觀就有如「面臨人生抉擇時儘多資訊蒐集」的慾望。 此作品為博弈箱，是一個繪畫裝置，它將帶來一場觀者參與的思考體驗。箱外以宣紙包覆，引申出博弈的不確定性。朱紅色的「一」字，訴說著博弈的單次不可逆性質，隱約的金墨帶上硃砂的毒性，提出了風險的吸引力及雙面向（輝煌與墮落）。宣紙切圓洞，觀者可以透過洞口深入參與作品。圓洞所對應箱內的位置安裝了一個圓鏡，觀者若選擇竊探箱子內容，把眼睛置於洞前，第一時間會與箱內鏡子所照映的觀者眼睛對望。鏡子使得觀者進入作品，成為作品的一部分，作品性質就從繪畫轉化為裝置。
This artwork is a gambling box. It is a painting installation and shall bring about a thought experience for the participating audience. The outside of the box is covered with Xuan paper, symbolizing the uncertainty of the gamble. The vermilion Chinese character "one" across the paper alludes to the singular, irreversible nature of the gamble. The toxicity of the vermilion, mixed with faint golden ink, suggests the duality of the risk and outcome (glory and decadence). A hole is cut on the Xuan paper, so the viewer can further observe the work through the opening. A mirror is placed inside the box across the hole. Upon peering inside, the viewer will initially see the reflection of their own eye gazing back. Once they do so, part of them has entered and become the artwork itself. This participation transforms the box from mere paintings into an installation.
展覽現場影片