〔觀心　2007  水彩  75×113cm〕

  石雕佛陀歷經多年的風吹雨淋，在虔誠的膜拜與祈願聲中，看盡塵世間熙來攘往的紛紛沓沓、悲喜與榮殘。每當獻上朵朵敬花的純白，雙手閤十默禱，那彷彿彼此交心般的靜默片刻，一種被懂得的任性依賴感油然而生。我想這就是觀心吧！

〔The Observation of the Mind〕

Battered by the wind and the rain for centuries, the stone Buddha accepted the believers’ pious worship and listened to their devout prayers day after day.  It observed and inspected all the grief and glory in the earthly world.  Each time when the white blossoms were offered and the believers clasped their hands saying their silent prayers, a sense of dependence emerged at the moment of tranquility.  The believers felt they could be understood and comprehended. Such a movement, I apprehended, referred to “the observation of the mind” in Buddhism.

〔感官禁錮的面容　2008  水彩  100×114cm〕

  「面由心生」；人心的不同面貌，皆因各種感官的接觸而惑動原本純靜的心靈。不同的成長經歷皆由不同的面容來雋刻。因此感官的接收便主宰了是非善惡的分際。藉由「無耳可聞」、「有眼勿視」、「合嘴止言」來阻絕干擾的外因；內心自會澄清而無欲無求。這是修行者的面容吧！

〔An Ascetic’s Face〕

‘The soul speaks through the face.’  Aspects of the mind varied from the pristine status with different sensations.  Various features of the countenances were modeled after different experiences and upbringings.  Therefore sensory reception dominated the criteria of distinction between right and wrong.  The soul would only be purified and become clear again by banishing the outer interference with the movements: no ears to hear, no sighting with the eyes, and no speaking with the mouth.  This should be the countenance of an ascetic.

〔繁「華」動了心　2008  水彩  100×114cm〕

  美的事物，能活化心靈、妝點生活；過於虛榮浮華，也會腐化心智。藉由一片片各式絢麗的花影組合，來美化畫面；但也一格格地分化了完整的面容。花色互有搭配，其實風格迥異、特色獨具。看似服貼卻又層次分明；真是難以拿捏取捨。

〔The Floral Countenance〕

Beautiful things can activate minds and make life alluring.  However, the flashy vanity also corrupts souls. The painting was a combination of various fancy floral images which not only decorated the picture but also partitioned the countenance into pieces.  The stripes of floral images seem to go with each other, but they are actually in different styles with unique features.  It is not easy for me to lay them out in the right arrangement.

〔雋永的族性-藍　2008  水彩  100×114cm〕

  畫者想藉由面容與圖像的結合，來呈現人心的層次。自古以來，不同地域、不同傳統的民族；都有著相同的色彩共識：那就是藍色的圖記。華漢文化的青花古瓷、異域苗疆的民俗蠟染，以及台灣原民的黥面刻痕。這些藍，不論是瑰麗大器，或是樸拙原始；都世世代代記錄著各民族的傳承與族性。雖身處異地，卻都有著藍青色的血脈，共同來輝映文化的光華。反觀人心，是否也能展現出人性中最雋永的一面：那就是擁有一顆如古瓷般的心，雖歷經熾火與歲月的焠煉，也留下了滿佈的裂紋，但依舊圓融與晶潤。

〔The Ethnic Tints of Blue〕

The painter would like to display the gradations of human hearts by the combination of the countenance and the images.  Since ancient times, tribes in different regions share a color in common; that is blue.  The blue palettes showed up on porcelain in Chinese culture, the batik in the distribution of the Miao Nationality, and the tattooed faces in aboriginal culture in Taiwan. The colors of blue recorded the ethnic heritages and ethnicity for generations no matter the colors were grand, splendid, or pristine. The blue brilliance also amplified the splendor of cultures in different ages and regions. In similarity, would people be able to manifest the most meaningful aspect of human nature, and own the harmonious hearts even after experiencing the misery and suffering in life with time?