畫化 Painting Transformation
墨色
Colour of Ink
每次的墨跡都不可能重複。甚至每次的濃淡，我也沒法複製。不同的紙質、石土不同的乾濕度、不同的光度......都影響到墨色的深淺。
It is impossible to repeat ink traces once they have emerged. I am also unable to reproduce the colour of the ink once it has been created. The difference of the paper quality, the degree of dryness or humidity of the stone on which it lies while painting, the kind of sunlight - all this influences the colour of the ink.
線條
Lines
時常我的一筆線條下去，並不先預設它是屬於草木的線條，還是屬於山石的線條。繪畫的有趣就在於你可以隨時改變它們的關係。我不會先完成一物，再畫另一物，而是藉由物與物之間的關係，慢慢呈現出一個整體的組合。
When the brush sinks onto the paper to paint a line, it is by no means certain whether this line will belong to grasses and woods or mountains and stones. The peculiar charm of painting lies in the ability to change the relationship between them at any time. I do not paint one thing first and then another, but rather care that, through the relationship between things, a comprehensive constellation gradually emerges.
互動
Interchange
將紙擺放在土地或石頭上，運用當地的素材：或是潑灑溪水讓石上苔蘚作用，或是用樹葉拓印出各種紋理效果。這種創作過程有它自己的獨特性，亦即與當下的場境彼此交互影響，也包含我當時如何與自然互動。
I place the paper on the forest soil or on a stone. I often use local materials: I splash stream water onto the paper and let the moss of the stone work from below into the paper, or use leaves to print different patterns on the paper. This way of working has its uniqueness because it requires a close interchange with nature in a certain place and at a certain time.
場域
Place
我和創作場域的關係需要時間慢慢培養，除了避免帶著先入為主的認識，也為讓自己能在其間敞開通透。我需要等待。
The relationship to the place where I paint develops gradually. It is important to avoid any prefabricated, supposedly reliable knowledge of the place and to make oneself open and permeable. I have to wait.
