當一切的構成化約於視網膜弧面與大腦的再現區域，一切與再現的一切都將成為未來世界的基礎，我們總是踩著想像和現實的揉合之物前進。想像我們的身體充滿縫隙，任由光、雨水和雜物穿過，像是一個篩子或函數公式，通過後再出來便是一種萃取，是詩，是境，是建立在雜物堆中的花園，也可能是建立在花園裡的雜物堆。人們往往將藝術與無限制劃上等號，但無限制的藝術卻很難表現這個世界，因為我們生存在一個充滿限制的宇宙中；這反應在自然與現實裡面，每一個堅硬或柔軟的事物都因限制而有著明確的界線，這界線通常是人去把它給刻意模糊掉的，雖然這個模糊有時也宣告一種價值，很難說它好或不好，因為人也是自然、現實體系的一部分，但人要小心的面對這個特質，仍要意識到界線與限制的存在。家具、房屋是人類為生存而創造的表徵，法文中將其定義為可動之物和不可動之物，啟發了我，影響著我，它們屬於界線兩端的事物，卻又彼此相關、相互指涉。人的生命因為限制而產生一場場悲喜交替的過程，如同四季的變換，風雨晴的更迭，而差別在於人們給出了情緒和感受。 總的來說，提出這種很難說它好或不好的事，再加上探討人性相對於自然的差異，對我而言，就是我的創作了吧。
When the constitution of all things materializes in the arc of one’s retina and one’s medial temporal lobe, everything and the re-appearance of everything becomes the foundation on which the future world will stand. Imagine our bodies to be full of interstices that allow light, rain, and material to pass through. These interstices serve as sieves and function formulas, for all that passes through them shall exit as the essence of itself, as poetry, and as a new world; as a garden established in rubble or as clutter formed in a garden. People often equate art with being without limits. Yet limitless art manifests with great difficulty in this world because we exist in a universe that is full of restrictions.In nature and in reality, each hard or soft thing bears clear borders; humans are often the ones to blur these borders. Such actions of blurring sometimes affirm a certain value, because humans are also part of nature and reality. However, we humans must face this unique quality with caution.Furniture and houses are symbols created by humans in order to survive. In French, the former means moveable objects while the latter means objects that cannot be moved. These definitions inspire and influence me. Life is a process of alternating joy and sorrow that owes its alternation to limitations, as does the changing of seasons and weather. The difference lies within the emotions people give and the feelings they perceive.