此系列作品以「無力感」為軸心進行創作，藉由社會中的各種框架與框架產生的從眾行為這兩個切入點去探討自身與大眾的無力來源，並透過互動者在遊戲規則的框架中生成的趣味進而探討無力的過程之重要性。
The film " The Great Buddha+"directed by XinYao Huang made me deeply feel the pressure and weakness of living in social class inequality through "dù zih"the character of the flim, forming a sad contrast to the healing when clawing a doll. The bad economic situation and social frame make us feel helpless. The claw machine is not only short-lived in a business model to Asia, it’s rise and saturation influence the feeling of helplessness that can’t be expressed in the deep of people’s hearts. I think the relationship between the claw machine's claws, the grasped object and the manipulator are quite interesting. I want to show the helplessness of their respective desires, expectations and effort to no avail in my artworks.
the word "helplessness" was used as the core concept of the work. I analyzed the societal norms and rules followed by the general public to explore the source of the feeling in ourselves, while discussing the importance of the helplessness in life, and the fun we found during the process.
此系列作品以「無力感」為軸心進行創作，藉由社會中的各種框架與框架產生的從眾行為這兩個切入點去探討自身與大眾的無力來源，並透過互動者在遊戲規則的框架中生成的趣味進而探討無力的過程之重要性。
The film " The Great Buddha+"directed by XinYao Huang made me deeply feel the pressure and weakness of living in social class inequality through "dù zih"the character of the flim, forming a sad contrast to the healing when clawing a doll. The bad economic situation and social frame make us feel helpless. The claw machine is not only short-lived in a business model to Asia, it’s rise and saturation influence the feeling of helplessness that can’t be expressed in the deep of people’s hearts. I think the relationship between the claw machine's claws, the grasped object and the manipulator are quite interesting. I want to show the helplessness of their respective desires, expectations and effort to no avail in my artworks.
the word "helplessness" was used as the core concept of the work. I analyzed the societal norms and rules followed by the general public to explore the source of the feeling in ourselves, while discussing the importance of the helplessness in life, and the fun we found during the process.
2021 國立台南藝術大學 ，應用藝術研究所 ，陶瓷組，臺南，台灣
展覽｜
2021 《無力的日常》陶瓷個展，國立台南藝術大學 材質系創基教室，臺灣
2019 《大崎陸陸》國立台南藝術大學應用所陶瓷組聯展，青青土氣藝廊，臺灣
2019 亞洲當代陶藝交流展，中國杭州
2018 《岩緒》陶瓷個展，板橋435藝文特區，新北，臺灣
獎項｜
2022 第五屆台灣青年陶藝雙年獎，首獎，臺北，臺灣
2021 台灣美術新貌獎，雕塑類，入選，臺中，臺灣
2020 南瀛獎，立體與複合媒材類，入選，臺南，臺灣
2017 台灣工藝競賽 ，創新設計組 ，入選，臺北，臺灣
2018 Taipei University of Education, Department of Arts and Design National ,Bachelor, Taipei, Taiwan
2021 Tainan National University of the Arts, Graduate Institute of Applied Arts, Ceramics Group, Tainan, Taiwan
Exhibition｜
2021 " The Helplessness of Life" Ceramic Solo Exhibition, Tainan National University of the Arts, Department of Materials Creation Classroom, Taiwan
2019 " Osaki 66 ", Tainan National University of the Arts Ceramics Group Exhibition, chin chin pottery, Taiwan
2019 Contemporary Ceramic art in Asia, Hangzhou, China
2018 " yán xù" Ceramic Solo Exhibition, Banqiao 435 Art Zone, New Taipei City, Taiwan
Awards｜
2022 , The 5th Taiwan Young Pottery Artist Award & Biennale , First Place Award
2021,Taiwan Emerging Art Awards , Judges' Award
2020, Nanying Awards Prospectus, Judges' Award
2017, Taiwan Craft Competition ,Innovation Design Group, Judges' Award
