2012年9月台北北投工作室的一把火,把十年来的创作都烧毁了。灾后消化情绪还有重新开始成为了我这三年的重要课题,偏重劳动的水印木刻创作成为开场。我在艺术学院是版画主修,求学期间我从未以版画做为创作发表,我喜爱版画媒材的复数性格不为少数群众专有,却不喜欢它的技术导向。在学与毕业后也一直以绘画做为我的创作的面貌。但经历了火灾,怎么开始?如何开始?创作变得痛苦煎熬。我选择以技术层面复杂的水印木刻做为媒材,水印木刻也符合呼应我创作里的质璞特质。2013年我拿到了佛蒙特的驻村,在零下十几 In September 2012, a fire in Taipei’s Beitou Workshop destroyed all its ten years of creation. Disaster digestion and re-start has become an important issue in my three years, more emphasis on labor, watermark woodcut creation became the opening. I was majoring in printmaking at the Art Institute. During my studies, I never published it as a printmaking art. The plural character of printmaking media I loved was not proprietary to the minority but did not like its technical orientation. After studying and graduating, she also used painting as the face of my creation. But after a fire, how to get started? How to get started? Creation becomes painful. I chose to use watermark woodblock technology as a medium, watermark woodcut is also in line with my creative qualities. In 2013 I got the Vermont village, at minus ten