2024
︎︎︎ From Far Away (Ongoing)
︎︎︎︎︎︎ I Was Trying to Find Traces of You︎︎︎︎︎︎ Postcard Edition
2023
︎︎︎ From Far Away (Ongoing)
︎︎︎︎︎︎ Sun Faded Snowy mountain, Packaging Tape and 1093 Days Apart ︎︎︎︎︎︎ No window, 3 pm, and Bird Dropping /Angled Sunlight and Safety Net / Everything Good Is Always Somewhere Else2022
︎︎︎ Behind the Frosted Glass
2021
︎︎︎ It’s Not Far Away
2020
︎︎︎ Waiting
︎︎︎ Time Practices: Calendar
︎︎︎ Time Practices: 060420-070420, intvl.23’
︎︎︎ Time Practices: Burning Incense
︎︎︎ Time Practices: Securit Camera
︎︎︎ Time Practices:
Through a 12th-FloorWindow - Taxi, intlv.24’︎︎︎ Time Practices:
Through a 12th-Floor Window - Fortum Quick, intvl.36'2019
︎︎︎ Time Practices: Twig
︎︎︎ Time Practices: 8 Hours
︎︎︎ Untitled w/ Miao Sun
︎︎︎︎︎︎ Before 2019 (Paintings)
Part of From Far Away (Ongoing)
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
I Was Trying to Find Traces of You
2024
Acrylic medium, inkjet print pigment, magnets and plexiglass
Various size
This series is about loss and what happened after.
This series of images were taken earlier this year, during the week between my maternal grandmother's admission to the ICU and her passing. Having only seen her briefly in the three years since her colon cancer diagnosis, I found myself desperately searching for traces of her, realizing I had been absent through her illness and present only at its end.
These photos are far from perfect by any standard—they're riddled with mistakes, a collection of failures: underexposure, incorrect ISO settings, the wrong film, and slow shutter speeds. However, these imperfections mirror my mental state at that time. I struggled to document the moment properly; with my less-than-intuitive photography skills, these images became the few clues I clung to before everything slipped away.
Alongside these flawed images are other glimpses of her life: a piled of hats, marking her hair loss from chemotherapy; a basin with a toothbrush, prepared for her journey in the afterlife, as is tradition in Taiwan; her dressing table, half-emptied, with a few of her belongings left behind.
Probably it is more than loss —it captures the raw experience of navigating between worlds as a migrant and granddaughter, pulled between where I’m building my life and where my roots remain. While deeply personal, it resonates with the broader migrant experience.
Created with a self-developed technique, these images are transferred onto layers of dried paint, becoming fragmented and distorted—like memories themselves. Mounted on custom-made plexiglass strips, these pieces aren’t just images; they’re tactile objects, embodying the fleeting, untouchable nature of memory.
* This work was exhibited at Oslo Negativ 2024, Den gamle Veterinærhøgskolen, Oslo.
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
I Was Trying to Find Traces of You
2024
Acrylic medium, inkjet print pigment, magnets and plexiglass
Various size
This series is about loss and what happened after.
This series of images were taken earlier this year, during the week between my maternal grandmother's admission to the ICU and her passing. Having only seen her briefly in the three years since her colon cancer diagnosis, I found myself desperately searching for traces of her, realizing I had been absent through her illness and present only at its end.
These photos are far from perfect by any standard—they're riddled with mistakes, a collection of failures: underexposure, incorrect ISO settings, the wrong film, and slow shutter speeds. However, these imperfections mirror my mental state at that time. I struggled to document the moment properly; with my less-than-intuitive photography skills, these images became the few clues I clung to before everything slipped away.
Alongside these flawed images are other glimpses of her life: a piled of hats, marking her hair loss from chemotherapy; a basin with a toothbrush, prepared for her journey in the afterlife, as is tradition in Taiwan; her dressing table, half-emptied, with a few of her belongings left behind.
Probably it is more than loss —it captures the raw experience of navigating between worlds as a migrant and granddaughter, pulled between where I’m building my life and where my roots remain. While deeply personal, it resonates with the broader migrant experience.
Created with a self-developed technique, these images are transferred onto layers of dried paint, becoming fragmented and distorted—like memories themselves. Mounted on custom-made plexiglass strips, these pieces aren’t just images; they’re tactile objects, embodying the fleeting, untouchable nature of memory.
* This work was exhibited at Oslo Negativ 2024, Den gamle Veterinærhøgskolen, Oslo.
Part of From Far Away (Ongoing)
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
From Far Away, Postcard Edition
2023/ 2024
Acrylic medium, inkjet print pigment, magnets, and customized acrylic frames
10.5 x 14.8 cm each
(11.1 x 15.6 x 1.4 cm with frame)
9 pieces in total
This series explores relocation, shifting values, and evolving relationships between objects and memories. Initiated from photos during my return to Taiwan after 3.5 years away, it reflects observations as a "foreign" family member 8000 km apart.
The project takes two forms: life-size photographic sculptures and a series of nine works produced in postcard size. During a period of family incidents and sickness, I returned to Taiwan once again, bringing along these newly created works. I incorporated daily scenes from my home in Norway and shared them with family members, as if I were a carrier of memories, bringing an imagined scenery and seeking the possibility of exchange. This experience reflects my life in both places and how I navigate the emotions of being an in-betweener from afar.
All works are crafted using a self-developed image transfer technique that closely combines painting and photography. Each piece is unique, layered with time and memory.
* This work was exhibited with Tenthaus art collective at Supermarket Artfair, Stockholm, Sweden.
*This work is acquired by the art collection of Västra Götalandsregionen, Sweden, in 2024.
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
From Far Away, Postcard Edition
2023/ 2024
Acrylic medium, inkjet print pigment, magnets, and customized acrylic frames
10.5 x 14.8 cm each
(11.1 x 15.6 x 1.4 cm with frame)
9 pieces in total
This series explores relocation, shifting values, and evolving relationships between objects and memories. Initiated from photos during my return to Taiwan after 3.5 years away, it reflects observations as a "foreign" family member 8000 km apart.
The project takes two forms: life-size photographic sculptures and a series of nine works produced in postcard size. During a period of family incidents and sickness, I returned to Taiwan once again, bringing along these newly created works. I incorporated daily scenes from my home in Norway and shared them with family members, as if I were a carrier of memories, bringing an imagined scenery and seeking the possibility of exchange. This experience reflects my life in both places and how I navigate the emotions of being an in-betweener from afar.
All works are crafted using a self-developed image transfer technique that closely combines painting and photography. Each piece is unique, layered with time and memory.
* This work was exhibited with Tenthaus art collective at Supermarket Artfair, Stockholm, Sweden.
*This work is acquired by the art collection of Västra Götalandsregionen, Sweden, in 2024.
Part of From Far Away (Ongoing)
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
Sun Faded Snowy mountain, Packaging Tape and 1093 days apart
2023
154 x 113 cm
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
Faded wallpaper on Grandma’s wall for over 30 years, a piece of Imaginary landscape, has fallen over, and gotten repaired, countless times. It took 1093 days for my return, to look at it again. Now, I am perhaps closer to that imaginary landscape, more than anyone in the family, ever before.
Sun Faded Snowy mountain, Packaging Tape and 1093 days apart is part of the ongoing series, “From Far Away". The project takes root in a series of photographs captured during a brief return to my homeland, Taiwan, after an absence of 3.5 years.
The work is processed with a self-developed technique, transferring inkjet pigments to layers of dried paint and washing away the paper fibers. The symbols on the bottom of the work are 1093 counts of my absence. It is made by two ways of counting 5: one from Taiwan (5 strokes of making the Chinese character ‘Zheng’ 正); the other is from non-Chinese speaking region, and also the common way here in Norway. The drawings are engraved utilized the wash-out process of the image transfer.
* The project is currently exhibiting in Bitácora, as part of Tegnetriennalen, - 22/12 at Tenthaus project space, Christian Kroghs gate 34, Oslo (map).
* The project is supported by Prosjektstøtte from Kulturrådet Høst, 2023.
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
Sun Faded Snowy mountain, Packaging Tape and 1093 days apart
2023
154 x 113 cm
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
Faded wallpaper on Grandma’s wall for over 30 years, a piece of Imaginary landscape, has fallen over, and gotten repaired, countless times. It took 1093 days for my return, to look at it again. Now, I am perhaps closer to that imaginary landscape, more than anyone in the family, ever before.
Sun Faded Snowy mountain, Packaging Tape and 1093 days apart is part of the ongoing series, “From Far Away". The project takes root in a series of photographs captured during a brief return to my homeland, Taiwan, after an absence of 3.5 years.
The work is processed with a self-developed technique, transferring inkjet pigments to layers of dried paint and washing away the paper fibers. The symbols on the bottom of the work are 1093 counts of my absence. It is made by two ways of counting 5: one from Taiwan (5 strokes of making the Chinese character ‘Zheng’ 正); the other is from non-Chinese speaking region, and also the common way here in Norway. The drawings are engraved utilized the wash-out process of the image transfer.
* The project is currently exhibiting in Bitácora, as part of Tegnetriennalen, - 22/12 at Tenthaus project space, Christian Kroghs gate 34, Oslo (map).
* The project is supported by Prosjektstøtte from Kulturrådet Høst, 2023.
Part of From Far Away (Ongoing)
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
No window, 3 pm, and Bird Dropping
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
124 x 142 cm
Angled Sunlight and Safety Net
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
98 x 65 cm
Everything good is always somewhere else2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
106 x 141 cm
"From Far Away" is a series of works that explore themes of relocation, shifting values, and the evolving relationships between objects, emotions, and memories. They are based on photographs taken during my return to my homeland, Taiwan, after a 3.5-year absence.
"Angled Sunlight and Safety Net" was taken at my paternal grandma's house, in the afternoon, when sunlight takes on a certain quality just before sunset. "No window, 3 pm, and Bird Dropping" was taken at my maternal grandma's house, featuring a scene from my earliest memories. It shows a curtain in front of a window that has never been opened and has had bird droppings staining it since my childhood. "Everything good is always somewhere else" was taken between these two locations, featuring a common rural town scene by the side of the road.
These scenes represent my observations as a "foreign" family member residing 8000 km and 7 hours apart, where my emotions and access to information come delayed.
The works are created by a self-developed technique. I take analog photos, print them out digitally, and then transfer the ink from the prints to transparent acrylic paint. The result is photo print pigments embedded in layered dried paint. The photograph becomes three-dimensional with an intriguing tactile depth, blurring the lines between traditional photography, painting, and sculpture.
* The project was exhibited with Tenthaus art collective at Oslo Negativ, Den gamle Veterinærhøgskolen, Oslo.
* The project is supported by Prosjektstøtte from Kulturrådet Høst, 2023.
*Postcard Edition is acquired by the art collection of Västra Götalandsregionen, Sweden, in 2024.
* From Far Away is a series of process-based works, adaptable to different contexts with varied selections from the series.
No window, 3 pm, and Bird Dropping
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
124 x 142 cm
Angled Sunlight and Safety Net
2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
98 x 65 cm
Everything good is always somewhere else2023
Acrylic medium, inkjet print pigment, fishing wire, magnets, and wooden mount
106 x 141 cm
"From Far Away" is a series of works that explore themes of relocation, shifting values, and the evolving relationships between objects, emotions, and memories. They are based on photographs taken during my return to my homeland, Taiwan, after a 3.5-year absence.
"Angled Sunlight and Safety Net" was taken at my paternal grandma's house, in the afternoon, when sunlight takes on a certain quality just before sunset. "No window, 3 pm, and Bird Dropping" was taken at my maternal grandma's house, featuring a scene from my earliest memories. It shows a curtain in front of a window that has never been opened and has had bird droppings staining it since my childhood. "Everything good is always somewhere else" was taken between these two locations, featuring a common rural town scene by the side of the road.
These scenes represent my observations as a "foreign" family member residing 8000 km and 7 hours apart, where my emotions and access to information come delayed.
The works are created by a self-developed technique. I take analog photos, print them out digitally, and then transfer the ink from the prints to transparent acrylic paint. The result is photo print pigments embedded in layered dried paint. The photograph becomes three-dimensional with an intriguing tactile depth, blurring the lines between traditional photography, painting, and sculpture.
* The project was exhibited with Tenthaus art collective at Oslo Negativ, Den gamle Veterinærhøgskolen, Oslo.
* The project is supported by Prosjektstøtte from Kulturrådet Høst, 2023.
*Postcard Edition is acquired by the art collection of Västra Götalandsregionen, Sweden, in 2024.
