同体 x 五感

　　视 听 嗅 味 触，麻木的现代人已然无感。

　　看过德国作家徐士金的香水都知道主人翁葛奴乙，他的嗅觉能分辨上万种气味，甚至是处女的味道，这样的赋能就像有些画家能分辨上百种黄色 柠檬黄 芥末黄 油菜花黄 …甚至成千上万种形形色色的微妙不同，而我也总能感受到生活中一石一木 一花一草哪怕是空气的情绪，感受你中有我我中有你与自然不可分的同体微妙，

　　自然中山神 水灵 树仙对人类释放的善意和失望 ... 都成了我创作的灵感，我曾经修行也期望能像六祖慧能那样顿悟，好比吃顿饭 干件事就能顿时开悟，可我一路走来年近花甲才渐渐悟道，人和宇宙万物同体共生的关系，这也算是顿悟吧…迟钝的钝哈哈。

　　希望我此次展出作品中无论是内在净修系列自身修行体验，或是外在空污环保系列中山神水灵的呐喊 哭泣 等情绪，赞碳系列中废弃轮胎的起死回生和化身活性碳再利用，都能深深的和你的心灵对话，唤醒我们对自然过度索求，破坏生态平衡的行为和良知，祈愿众生善待自然与万物同体共生。

　　跨界设计与艺术，吾道一以贯之

　　我透过艺术戏剧性地凸显当下人文社会和人与自然生态的问题，用善意的设计解决水污染的饮水问题，设计一款麦饭石水滴智能净水器，让你在家享用自来水变成矿泉水，而不仅仅是纯净水等。

　　我以知识和体验为蓝图架构，用艺术与设计辅其面貌筋肉，在我试验创作中一次次的失败，却也常是美丽的错误，便又一次次的感动自己，再触动观者经验，用想象创作独有的符号，与观赏者建立新的互动联系，从而完成作品的体验和思索一切的可能性 ...

　　我胸有成竹的用水墨挥洒千锤百炼的意念，却在笔墨落纸的瞬间灵魂意外乍现，不知是笔随心动，抑或心随笔动，这种绘画全神专注的过程是种忘我的和超越自身的驾驭能力，我的主题创作绿色环保作品，即使是想象中的笔下妖魔的死亡呐喊或精灵的无奈绝望，也时而会化腐朽为神奇般涌现并自带华服，如同美丽的谎言背后往往有毒， 罂粟花般光鲜美丽的外表其实包藏祸心。

　　同体，包容的不仅是世间万物，我的创作美学及媒介运用也是多元试验开放的，材料技法的创新，赞碳系列我在水墨中加入活性碳，结合收集的废旧轮胎作画，空污系列里我亲历收集空气净化器滤网上的尘霾，作为水墨创作的添加颜料和特效，形成个人独一无二的符号，令废弃物重生变废为宝。布局和结构融会体现中庸所说“致广大而尽精微，极高明而道中庸”之精神，时而剑走偏锋却又峰回路转以求极致与平衡，我的绘画语境觉物有情，从意象到想象再到抽象，师从万物再境由心造，大象无形以及大道至简的生活美学早已奉为日常。

　　The common heart is an attitude and a state of being--Yeh Yu-Hsuan Preface

　　Common heart x the five senses

　　Sight， hearing， smell， taste， touch- the modern man has become numb and senselss.。

　　Anyone who has read the novel Das Parfüm （The perfume） by the writer Patrick Suskind knows about the protagonist Jean-Baptiste Grenouille， whose sense of smell can differentiate tens of thousands of odors and scents， and even recognizes the scent of a virgin. This kind of talent is like how some artists can differentiate between hundreds of shades of yellows like lemon yellow， mustard yellow， dandelion yellow…even the tens and thousands of shapes and colors with their subtle differences， and I can experience the emotions of every rock， tree， flower， grass， or even air in life， to experience the subtleties of you are in me， I am in you and the being inseparable from nature. The spirits of the mountains， trees， river in nature demonstrating their good will and disappointment….these are all inspirations

　　for my creativity. I used to follow spiritual practices and hoped that I can become enlightened like Dajian Huineng， as if one can become enlightened from having a meal or doing something， but with my life‘s journey， it is only as I got close to my sixtieth birthday， that I feel like I have become a bit enlightened， of the relationship between human and all of creatures sharing a common heart， so I guess this is some sort of enlightenment….slow as it may be （laughs）

　　I hope that my exhibited works can hold deep conversations with your heart and soul， whether it is the internal Pure Cultivation Series that is an experience of spiritual self-practice； the hollering and crying， and other emotions from the spirits of the mountains and water in the external， environmental protection Polluted Air Series； or the resurrection of tire wastes and being incarnated as activated charcoal for reuse in the Praise of Carbon Series. I hope that they can evoke your conscience about our excessive demand on nature and behavior that disrupt ecological balance， and pray that all human beings can treat nature well， and to live in harmony with all of creation.

　　Cross-discipline design and art， an all-pervasive unity

　　Through art， I emphasize the current issues between humanity and society， man， nature and ecology in a dramatic fashion. Using wellintentioned design to resolve drinking water problem due to water pollution， I designed a maifan stone smart water purifier， so that your tap water at home becomes mineral water， not just purified water. I used existing knowledge and personal experience as the structure for the blueprint， then use design and art to provide the tendons and external appearance. The continuous failures in my attempts to create new work are also beautiful mistakes， which move me every time. I then trigger the experiences of the audience， to imagine creating unique symbols that establish new interaction and connections with the viewer， through which the experience of the work is completed and to contemplate all possibilities. With confidence， I used water ink to give my tempered thoughts physical form， but during the instants when the inked brush touched the paper， my spirit unexpectedly also manifested itself. Whether it was the brush moving in tune with the spirit， or vice versa， this kind of fully invested effort to paint is an ability to forget oneself and to surpass it. My theme was to create green， eco-friendly works， even if in the imagination and through the brushes the dying cries of the demons and monsters， or the hopeless despair of the fays， and sometime the worst can turn into something wondrous and extravagant， just like how a beautiful lie is often tainted with poison， how the beautiful exterior of a poppy flower hides a malicious intent.

　　The common heart contains not only all of creation. My creative aesthetics and use of the mediums are also open， diverse and experimental. The innovation in material and techniques， such as adding activated charcoal into water ink and combining with the collected tire waste to be used for painting in the Praise of Carbon Series； I personally collecting the dust and haze from the filter net of air purifiers to be used as additive coloring and for special effects in the works for the Polluted Air Series， so create completely unique symbols， and to turn waste products into treasures. The layout and structure fuse and manifest the spirit of “while honoring the greatness and power of one’s moral nature， yet not neglecting inquiry and pursuit of knowledge； While widening the extent of one‘s knowledge， still seek to attain utmost accuracy in the minutest details” as described in the Zhongyong （Doctrine of Mean）， so at times the brush strokes are sharp yet also circuitous to seek perfection and balance. The context of my paintings is Bodhisattva， starting from imageries， to the imagination and to the abstract. I learn from all of creation， and then the context is formed by the heart. The life aesthetics of the heaven is so large that it is formless， and the major simplistic principles have become the norms.