The term '幽' in the phrase '曲徑通幽' 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.
"Phantom" begins with the existential anguish of the death and transience of the self-aware ego. Confronted with inescapable time, it surpasses through the metamorphosis of subjectivity and spatial imagery, blending contradictory and elusive forms of existence amidst the conflicts of the vast binary oppositions, freely traversing their realms.
Through the positioning and reshaping of spatial objects, it generates a series of threshold spacetimes, seeking subjectivity. Among the numerous scenes that recall memories and impressions, it starts with the childhood escape from the family in a park, unfolding a sequence of visionary landscapes. By reinterpreting the spatiotemporal scenes that encompass intimate fragmented objects into transcendent images, it personalizes and appropriates objective things as a path to return to the original form of nature and its essence.
Silhouettes extracted from memories construct phantoms and specters, detached from the flow of experiential background. From life to death, from death to life, they bestow vitality upon fleeting moments. When the silhouettes bloom into flowers, they transform the ossified scenes of history, becoming symbols, settings, and spirits that transcend temporality within history.
「幽」：「曲徑通幽」一詞， 從字源解釋，指彎曲的小路，通到幽深僻靜的地方，而「幽」字同時又有與神鬼交通的雙重意思。
《通幽之徑》，始於本體意識物我死亡與流逝的焦灼，⾯對無以逃逸的時間，以主體和空間形象的變形作為超越，將相悖⽽詭譎多變的存在形態，融和於芸芸⼆元對立的衝突之間，無拘束地遊走其中。
通過空間物的定位和重塑，幻⽣出一個個閾限時空，找尋主觀性。 其中，在回溯記憶印象的眾多場景裡⾯，以童年逃離家庭的公園為⾸，展開⼀系列異象風景構成的意象空間。把囊括親昵的零碎景物的時空場景重新演繹成超驗意象，以將客觀事物私⼈化、據為⼰有，作為回歸個體內在⾃然的原形的路徑。
從記憶中擷取的剪影，築成的幻影與幽靈，影⼦活動脫離經驗背景流動發展，從⽣到死，由死向⽣，給⾶逝的瞬間賦予⽣命。當剪影開出花朵時，改述歷史固化了的情景，化為象徵物、化為場景、化為精神，在歷史中超越時間性。