Faced with the inescapable passage of time and the existential anguish of death and transience, Phantom revolves around spaces such as homes, gardens, and temples. Through the reconstruction of fragmented imagery and spatial forms, it surpasses reality and its own form, blending the contradictory amidst the conflicts of vast binary oppositions, freely traversing their realms.
This exploration of space is reflected in the term '幽' from the phrase '曲徑通幽' which has an etymological interpretation of a winding path that leads to a secluded and tranquil place. Additionally, the word '幽' encompasses a dual meaning of communication with spirits or ghosts.
In this context, painting serves as the silhouettes extracted from memories that construct phantoms and specters. Only when these shadows detach from the flow of experiential background and move freely from life to death, and from death to life, do they bestow vitality upon fleeting moments.
As these silhouettes bloom into flowers, they transform the ossified scenes of history, becoming symbols, settings, and spirits that transcend temporality within history.
⾯對無以逃逸的時間，物我死亡與流逝的焦灼。《通幽之徑》圍繞住所、廟宇和花園等場域，通過重塑其中零碎的景物與空間形象，超越現實空間和自身形態，並遊走於相悖的生命存在形態之中。
字源上，「幽」在「曲徑通幽」一詞中指的是通向幽深僻靜之地的彎曲小路。同時，「幽」字又暗含與神鬼交流的雙重意義。
繪畫是從記憶中擷取的剪影，構築出幻影與幽靈。而唯有影子脫離經驗背景自由流動，從⽣到死，由死向⽣，才給⾶逝的瞬間賦予⽣命。
當剪影開出花朵時，歷史中固化的情景被重新詮釋，化為象徵、場景與精神，從而在歷史中超越時間性。