The videos I have created in the past have frequently originated with a concept, as does this one. Here, perhaps, the idea of taking an approach similar to that of painAng directly from life -or nature more aptly describes my iniAal concept. The results produced by taking this kind of approach to painAng reflect the interacAon between arAst and subject in the creaAve process; the arAst confronts the subject, and the fluctuaAons in his or her mood enter the painAng through the brush strokes. Regardless of whether or not the arAst is aiming at a realisAc reproducAon, ulAmately painAng directly from life or nature in this way lies in grappling with the internal fears of the arAst, and not just with the subject itself; the arAst’s fears are implicit in his or her portrayal of the subject.

自然風景（Landscape）被喻為我書寫影像的一張畫布，接著我讓氣球因漏氣從畫外旋進畫內的天空，最 後癱軟地掉入湖面；在這簡短的拍攝過程，縱然不能如畫布一樣留下筆觸，但是透過氣球不尋常的行徑 變化和聲音，的確深深地劃過觀者的腦海形成印象；猶如五○年代阿根廷籍義大利藝術家封塔那（Lucio Fontana）用刀在畫布上劃開一般，這樣的印象讓觀者不經意地在某一刻陷入抒情的感知，雖然很難去描 述，不過在科技和媒體不斷地擴張人們物慾精神的當代，我相信觀者的心中隱含著一股純淨的愉悅。