This feeling began, almost imperceptibly, to make its way into my art. At this point, a qualitative change in my artwork occurred. I embraced this new phase of artistic freedom, while at the same time being acutely aware that I wanted to preserve my heritage as a Taiwanese artist and continue to reflect that cultural characteristic in my work. Now, I want my work to be identifiable as stemming from my Taiwanese heritage, and at the same time show the expressiveness of a contemporary artist.

　　I have been identified as an artist who is style is "Trompe l'oeil." This is true in part. However, I endeavor not only to employ technical expertise to manipulate clay and represent it in a realistic manner, but also to create a sculptural dialogue that is interwoven with my cultural background. For example, my "Tree Trunk T-Pot" maintains the functional appearance of a teapot, but is actually a "sculpture with teapot features." In contains and integrates multiple layers to be studied and interpreted - the trompe l'oeil technique, contemporary sculptural expression, the philosophy of Chinese ceramic art, and Taiwanese cultural tradition. The sculptural work "Bridge: Illusion in Clay," is my greatest effort to date, which combines all of these elements. While the details are precise, my wish is that Bridge, as well as my other work, will conjure up images of "East to West, past to present, vessel to installation, and traditions of mainland China to experiments of postmodern Taiwan."