羅喬綾個展－走路會到的地方｜Lo Chiao-Ling Solo Exhibition – A Place We Walk To by Liang Gallery

序

Contents

Foreword

余彥良 Yu Yen-Liang

A Pla c e We Wa l k t o 每一次的微甜散步 Every Sweet Walk with You

張玉音 Chang Yu-Yin

Lo Chiao-Ling Solo Exhibition

走路會到的地方 A Place We Walk to

羅喬綾 Lo Chiao-Ling

作品 Artworks

101

簡歷 Biography

111

圖錄 Catalog

序余彥良尊彩藝術中心董事長

長大後，忘了的事就是我們都是不想長大的彼得潘，這是我看羅喬綾畫作裡的第一個印象。而隨著年齡增長，很多純真，很多希望都變得難再尋覓，這應是內在有了「自我」改變了方向，而外在壓力更磨滅了許多從小就有的遠大理想。

羅喬綾用了許多方法試圖讓我們回到童年時光，她會以孩子的思考模式在畫布中探索問題，而在解答當中出現「伴」字來相隨呼應，相伴的媽媽、同學、玩具、圖騰、勇氣和希望，也因此在小小的畫布內，蘊藏了許多源源不斷的童真，明亮的色彩充滿純潔與和諧，他們是最期待和平的，也有著最純淨的內心世界。

我喜愛「貼紙」，當貼上一張就能有不同的身份，或許變成同類，也許是一種印記，這樣的符號會讓你充滿安全感，也會賦予正向的力量。「超人」是拯救宇宙人類的希望，也是除暴安良的象徵，穿上電影中熟悉的英雄服，馬上勇氣充滿，能飛能鑽，除了保護媽媽之外，更能讓別人搶不走自己心愛的玩具，所以當超人是必要的幻想。「同學」是一面鏡子，可以相互模仿，可以大聲嘲笑，也可以競爭追逐哭給你看；顏色代表著他們的個性與喜好，一個家庭就有一個花樣，所以同學真是孩童時期不可或缺的良伴。每一位同學都有一個夢想，他們會告訴你長大後他要飛翔，他要發明更厲害的太空船載你去銀河系看星星月亮與太陽。「玩具」是你最珍貴的財產，你會不斷地和它說話講講心事，也能築成堡壘鞏固自己的勢力範圍，玩具借不借別人玩是能試探你的大方與善良，若是爸媽不肯買給你玩，你日夜都會一直想，不斷地吵，至此墮落或是更聽話來爭取這份財產。我的「媽媽」是在難產中辛苦生下了我，所以我知道生命的確得來不易，孩童的生命就像是一朵小花，脆弱身軀和心靈需要更多呵護與照顧，媽媽會不斷地在你成長歷程中細微地調整目標，要你關愛他人順應變化，不怕失敗面對一切逆境都要勇敢，她的教誨造就了你一生無比的堅強。

以上，你都還記得嗎？孩童小小的心臟裡，蘊藏了無窮的赤子之性，可是長大後，大大的心臟中，卻包含了很多不友善、不道德、互相仇視攻擊、互相爭權奪利的狂妄，至此形成社會亂象。所以，我們回去吧！尋找羅喬綾畫作裡不想長大的彼得潘，這些正向的意涵，是現今社會中不可或缺的能量，倘若你能有智慧發覺其中奧妙，人人端正自己不易發覺的錯誤思想，地球才能真正有希望。

Foreword Yu Yen-Liang President of Liang Gallery

When we grow up, we forget that all of us are Peter Pans, never wanting to grow up. That is the first impression I get when looking at Lo Chiao-Ling’s paintings. The older we get, the more difficult it becomes to find sincerity and hope, which should give us direction towards the changes of the self. What is more, pressure from the outside obliterates a lot of lofty ideals we have gained since childhood. Lo Chiao-Ling tries in different ways to get us back to childhood. She uses canvas to find answers to questions through the perspective of a child. There is always a word “companion” echoing in the answers she discovers. The companion might be mother, classmates, toys, totems, courage or hope. The small paintings by Lo are filled with child’s innocence, as well as pure and harmonious bright colors. The “companions” in her paintings are the ones with the purest inner worlds who are eager to find peace. I like the “stickers” presenting different identities, and some of them being marks. These symbols make you feel secure and present positive power. “Superman” saves the universe and combats the bad. Once he puts the hero’s clothes on, he immediately becomes a courageous person who can fly, he not only protects his mother, but also does not allow others to grab his beloved toys. Being a superman is an important fantasy. “Classmates” are like a mirror, they imitate each other, they laugh loudly, they compete and chase each other. Color represents their personalities and their likes, and each family has its own pattern. The classmates are the indispensable companions from childhood. Every student has a dream, some of them want to fly when they grow up, and some of them want to invent a spaceship which will carry us to the Milky Way to explore the stars, the moon, and the sun. “Toys” are the most precious asset, you can continuously talk to them about feelings and other things, what is more, you can also build a fortress consolidating the sphere of influence. Whether you are willing to lend your toys to others, it also tests your generosity and kindness. If your parents refuse to buy you toys, you spend days and nights craving for them, you constantly make a racket about it, and you become more obedient when fighting for this property. My “mother” had a painful labor when I was born, thus I know that life is hard-earned. The life of a child is like a flower – a fragile body and soul needs a lot of care. Your mother will always be there to adjust your goals through the course of your life. She wants you to adapt to changes, not to be afraid of failure, and be brave when facing various situations. Her teachings will make you very strong. Do you still remember what I have just talked about? The little heart of a child contains an infinity of innocence, but when the child grows up, the big heart is stuck with unfriendliness, immorality, hatred attacks, and outrageous arrogance when competing for power, thus forming a social chaos. So let’s go back! Let’s be Peter Pans who do not want to ever grow up. These positive implications are important in today’s society. If you are wise enough to discover the secrets, if people correct the erroneous ideas, only then there can be hope in this world.

每一次的微甜散步談羅喬綾創作的微型感性張玉音《典藏．今藝術》企劃編輯

髮帶局部

壓克力 / 畫布 97×130 cm 2016

一半檸檬加一半檸檬檸檬開花四瓣冉冉花

是給你的

酸

是給我的

─夏夏，〈開花〉─

總是在讀夏夏的詩時，會想到喬綾筆下的畫面。那絕對清澈的視野，淡然般卻綿密的詩意，但那並非刻意脫離世故，而是試圖提醒一些重要，卻早已被我們遺忘的事物，關於愛，和被愛。

小感性的政治學 * 在直觀地面對她繪畫之前，仍想重返 2009 至 2010 年前後的創作氛圍，來探究其繪畫中微型日常的時代脈絡。當時台灣年輕世代的藝術家，不

此段對於 2009 至 2010 年的藝評整理，節錄於王聖閎、吳嘉瑄，

少以「微」、「輕」、「弱」等以退為進的關鍵字，來積極找尋回應過

〈台灣視覺藝術評論

去創作「大敘述」、「大政治」的嚴肅性，企圖為沉重生活覓得建設性

研究 2009-2010 計畫

的逃逸路線。包括 2006 年由蘇育賢所策動的「CO-Q」展便已提到年輕世代的創作特質，如「小感性的發明家」等；或是黃海鳴於〈搭接《疏離的速度》之間的鷹架〉解析年輕世代喃喃自語狀態的「微觀政治學」：「他們進入到一種更個人的，透過更細膩的藝術語言來傳達微觀政治想法和激發微政治思辨的時代。」然而這些對於日常細微的感性政治，在 2009 年由張晴文、蘇俞安所策畫的「弱繪畫」更是統合此種微型出發論述的指標展覽，及拉到當代藝術史多元媒材發展的現實，繪畫的生存處境。*

研究報告（下篇）〉。

無論是小感性、微觀政治或是弱繪畫等關鍵字，都可大致連結羅喬綾自「如果你也還記得」（2011 年）、「閃閃發光的時候」（2012 年）、「心裡的小星星」（2013 年）幾乎每年不間斷的個展作品生產中。曾被間接地詢問，為何羅喬綾離開新媒體與影像創作的脈絡而回歸到繪畫脈絡？我理解那樣的詢問背後是對於某種個人式細微感性價值的懷疑，或是此種聚焦於某種類型與主題微小的觀察，是否值得長期經營或容易陷入類型化？

但我相信當她在思考這些無解，關於藝術家職涯、媒材選擇或風格策略等問題時，她最終總會在一陣焦慮過後，選擇以最純粹的直覺來面對。過去的影像作品一定程度挖掘她關於童年蒼白與絕美的記憶，然而自覺到此種內縮時光回溯的創作方式，會使其削弱對周遭、當下敏感的觀察，就在學院對於多媒體、多媒材探詢屬於政治正確的年代，或者一個學院研究生好不容易在影像創作上找的一個著力點，她卻毅然重拾繪筆作為她創作生產的主媒材，直至今日。

理解她的人，都知曉感性與直觀對於她創造的關鍵性，而繪畫從媒材到手是一種比影像創作更直接、手工與仰賴每一刻感性堆積的過程，「繪畫的部分則是希望自己能夠更開啟自己的感官，凝視與感覺一切正在發生的美好事物。」這個從自我走出甦醒、坦率的過程，其實遠比建構在一種時代回應的基礎上更為重要，是關於一種藝術家身分的宣言，是創作者僅有卻豐饒的資產─對於自我誠實的實踐。

手掌上的虹霓

雖然孩童肖像的面容持續成為她 2009 年至今繪畫的主題，但是對象卻從以成人視野揣測認識與不認識的他者、幻想的孩童，到 2011 年，她成為母親後有了重要的轉捩；這個體驗對於女性生命是極度衝擊的翻轉，從孕育過程適應與他者共存一體，到難以承受疼痛地產出生命，與一個相似自身又相似伴侶的新個體重新展開生活，父母被孩子的成長重新邀請，再次觀看人類從誕生到各種行為能力建立的成長過程。

在面向淡水河口的八里住宅，是她的繪畫工作室與丈夫的設計事務所，兩人以此為基地，親力親為地陪伴孩子各個階段，一起散步、閱讀、畫畫與悲傷歡笑，這些經驗和過去未成為母親前的揣想距離不同，是緊密疊合孩子的視野重新去感受日常所有的細節與溫度，並在陪伴的共時中跌入童年記憶的細縫，使她想重新和孩子學習他們單純的美好，把剛抵達嶄新世界好奇的初衷慢慢拼湊起來，包括那些我們曾經如此珍貴的感性與想像力，她試圖利用繪畫，將這一切重新面對世界的初心都封存住。始終對於她繪畫乍看朦朧、保留鉛筆構圖、偶然與直覺性的色塊線條相當著迷，很難忽視那些被刻意保留下的不準確；這些偏離，創造了更多閱讀與詮釋的空隙，也保持一種直觀的新鮮度，屬於熱切卻不熟稔，邂逅般的悸動。而在成為母親後，面對喬綾畫作又產生另一層次的共鳴，是在育嬰假期間體驗全職母親的日常，感受如何能在生活被育兒與家務填滿的時光，找到自愉與審美的可能？那些能救贖日復一日生活的寥寂，即是專注的微觀。我不再把洗清奶瓶當作一個過程，而是細膩地去看那些洗劑泡沫的七彩和形狀，想像手心與海綿上種滿了虹霓，時光才能像施了魔法般耀眼和值得投入；而投入孩子的行為和言語觀察，則是另一種母親的自我療癒，試圖在一種無法以言語溝通的狀態下，培養極高的理解默契，孩子愛的、厭的、沉醉或排斥的，無形都寫在母親們腦海的筆記。在家務和育兒雙線的生活之中，再回望她的畫作，發現高比例的共鳴和題材擷取的精準，那絕對是從生活和育兒出發深度的視線，那些屬於孩子階段性的行為與熱衷的物件，都如此溫暖、充滿陪伴感的被關鍵字圈出，她的畫作如同擁抱，環繞那些身在困窘中卻堅定朝向光走的人們。

日常、孩童、微觀等小日子與小主題都非微型感性不值得經營的理由，而是小確幸地滲透對於生活本質的影響為何？藝術家又如何以生命經驗產出精確的凝視與風景刻度，至少將那些日常照射出晶亮的神采，是一種具有溫度的振作，如同夏夏的詩，喬綾的畫作是把生活的酸濾除，將花綻放的甜蜜釀出，但也因為生活的酸澀，花才能顯得如此清甜，而那背後的一切，則是愛。

談羅喬綾創作的微型感性

每

論

一

述

次的微甜散步

Every Sweet Walk with You A Reading on Lo Chiao-Ling’s Micro-sensible Art

Written by

Chang Yu-Yin Developmental Editor at ARTCO Monthly

Half lemon with half lemon Lemon blossoms into a four-petal flower The flower is for you The sour is for me

─ Shiah Shiah, Blossoming ─

Every time when I read Shiah Shiah’s poems, the images of Lo Chiao-Ling’s art emerge. The vision is crystal clear, lingering like a serene taste of poetry. Rather than a deliberate seclusion, it tries to remind us of the essential things that we have long forgotten – those about love, and the ones about being loved.

The Micro-sensible Politics Before we come face-to-face with her paintings, let us return to 2009 and 2010 to discuss the cultural context of the micro-mundaneness in her painting. Many young artists at that time embraced the keywords such as “micro,” “soft,” and “weak” to respond to the seriousness of “grand narratives” or “grand politics” seen in earlier works, as if they were securing an escape path from the suffocating life. Examples can be found in CO-Q, Su Yu-Hsien’s curatorial project starting in 2006, which highlights terms like “micro-sensible inventors” to describe the artistic feature of the younger generation. In Huang Hai-Ming’s

“Building a Scaffold within Speed of Alienation,” he brings up the concept of “micro-politics” to identify a self-murmuring generation among the young artists: “they step into an era which is more personal, requiring the much subtler artistic expressions to reveal a micro-political belief and to encourage a micropolitical dialogue.” The micro-sensible politics of such a subtle mundaneness has reached its peak in 2009’s “Weak Painting,” curated by Chang Ching-Wen and Su Yu-An, which not only concludes all the “micro-something” narratives but also extends the discussion to the reality of painting when contemporary art has been dominated by mixed-media practices. * These keywords, be it micro-sensible art, micro-politics, or weak painting, are the umbrella terms which connect Lo’s near-annual solo exhibitions from If You Still Remember (2011), The Little Stars in My Heart (2012), to The Starry Moment (2013). We have indirect questions like: “Why did Lo abandon the practice of new media and video art and returned to a narrative of painting?” I understand that the subtext of the questions is to question the values of such a subtle personal sensibility – do we really have to focus on a particular genre? Does a “micro-something” theme deserve our long-term attention? Is it a self-limiting category?

* However, I have faith in her. After going through the questions about an artistic

The critiques mentioned

career, the choice of materials, and the approach of a style, she will definitely

in this paragraph are

overcome her anxiety and confront it with the most absolute instinct. Her

extracted from Wang Sheng-Hung, Wu Chia-

previous video art in some way unearthed the pale and flawlessly beautiful

Hsuan, “A Study on

childhood memories, but the self-reflective artmaking featuring an inward

Taiwan’s Visual Art

time-travel somehow weakened the observant sensitivity to the present and the surroundings. When practicing multi-media and mixed-media art became a choice of political correctness, especially in academic studies, it took great courage and determination for a graduate student in art school to put down the weapon she had finally found in video art only to pick up the painting brush again, up till today. For those who know her well, they realize that the key factors of her artmaking are sensibility and intuition, while no video art offers a better experience of such an intimate touch than painting. Painting is a process to accumulate sensible and intuitive feelings, starting at the moment when you hold the material in your hands. “Painting allows me to open up my senses more, to gaze and to feel all

Critique bet ween 20092010.”

the beautiful things happening right now,” says Lo. The honest, self-awakening path is much more essential than building something as a response to the zeitgeist. The artist makes her statement. Her honest practice is her only, but amazingly abundant, assets.

Rainbow in the Palm

Although children’s portraits have been a recurring theme of her paintings since 2009, the objects are no longer the known or unknown “others” (meaning the imagined kids seen or pictured from an adult’s perspective). The turning point was in 2011 when she became a mother. Giving birth to a child is almost like turning a woman’s life upside down. A woman learns to coexist with another being in her own body during pregnancy, while the unbearable pain of childbearing brings a woman to a higher level, where she now has to live with someone in separate bodies, and that “someone” inherits her and the father’s features. The growth of a child invites the parents to re-witness how humans have developed their abilities and behaviors since birth. In her Bali residence that faces the mouth of Tamsui River, she has set up a painting studio with her husband’s design office. The married couple has made it a base where they can spend time with their children as much as possible and experience everything with the kids, such as reading, taking a walk, painting, or savoring all the emotions. These experiences are way beyond what Lo had once imagined before she really became a mother. She is given a new vision, interwoven with that of a child, to perceive every detail and to feel the warmth of everyday life. In the time spent with her children, it is like she slips into a black hole of her childhood memory, through which she has a desire to learn from her children, to recollect the pure innocence and inborn curiosity when one first arrives at a new world, and to awaken the long forgotten sensibility and imagination. In her paintings, she thus crystalizes all these original feelings of her first encounter with the world. I have always been fascinated by the obscure, incidental, and intuitive color blocks and lines in her paintings, while the traces of pencil sketches are also made visible. One can hardly ignore the intentional proof of its imprecision,

while the deviation creates a greater gap for interpretation as it also maintains

Article

a spontaneous refreshment like the ambiguous intimacy, marked with attraction and fear, at the first encounter. Since she has become a mother, her paintings have expressed a different resonance echoed with the motherly everydayness in her maternity leave. How could she still find self-pleasure and artistic pursuit possible as her life was filled with baby nursing and household chores? What

Every Sweet

saves us from the endless banality of everyday life is to concentrate on the

Walk with You

micro-vision. I no longer consider “washing baby bottles” a process but instead

A Reading on Lo Chiao-Ling’s

I direct my gaze toward the bubbles’ transformative colors and shapes created

Micro-sensible Art

by the dishwashing liquid. I imagine my palms and sponges carrying various rainbows. By doing so the time spent miraculously becomes a spark worth my attention. For a mother, a way of self-healing is to observe children’s speech and behavior. They thus develop a profound mutual understanding that is beyond any vernal communication. What their children love, hate, reject, or fail to resist are implicitly stored in a mother’s brain. Between the parallel experiences of child nursing and household chores, we notice a strong resonance and the themes dealt with perfect precision in her paintings, which would have not been possible without a vision from such mundane experiences. The behaviors at different ages and the objects they are fascinated with at different moments of life are highlighted with such a warmth and intimacy. Her paintings are like an embrace enveloping those who are firmly heading toward the light in spite of the muddy obstacles. Mundaneness, children, micro-vision – these keywords about littleness are not reasons to reject a micro-sensible expression. The real question is how “the little but certain happiness” is absorbed in our lives and how it affects the essence of life. How artists transform their life experiences into an exact gaze or a rhythmic vision is a gesture full of warmth, that everydayness is polished into a dazzling sparkle. Like Shiah Shiah’s poems, Lo’s paintings filter out the sour of life and extract the sweetness from its blossom. It is the sour of life that reflects the fresh sweetness of flowers. The invisible force behind it is love.

走路會到的地方羅喬綾

阿 Bon 的甜言蜜語局部

壓克力 / 畫布 140×150 cm × 2 pcs 2016

走路會到的地方

像是一段小旅程，紀錄一起經歷童年美好的陪伴。

和你一起發掘的細小溫度，那細小的部分就好像是記憶與記憶間的空隙，在這個空隙中製造出幻想的那個部份，這樣就可以與現實做某些連結，好像是真的又好像是假的，就像是你曾經記得某個時刻的溫度，但其實很模糊。

阿 Bon：

「媽媽∼我的鼻子塞滿了香味。」

小時候的天真臉龐，可愛的童言童語，為了小事開心以及傷心，我們都是這樣長大的。再看看現在的自己，身體長大了，心好像還不想長大。把你覺得重要的事情記起來，直到長大了也不會忘記，我想學習你的單純美好，並把它們通通保存下來。

我們活在自己建構的世界裡，當你開心，全世界也都跟著開心。有時候我會想，我到底想要做的是什麼？回到小時候的提問：「你長大想要做什麼？」至今對我來說，這一題還是很難回答啊！一切都太過現實考量與無趣。我兒子說長大他想要當警察狗（警犬），他跟同學聊天，同學說想要當警察，他喜歡狗所以想當警察狗。真好啊！完全的不現實且自我發展而成的英雄式想像，活在自己地想像裡，自由自在的。小孩的天真無邪常常吸引著我，可以活得那麼自在有趣，我覺得超棒的。與小孩對話最容易可以達到這種非現實的境界。夢幻公主、英雄人物、拯救世界、車子會說話、有魔法、活在卡通的世界裡……等。這些全部都變成可能的選項，好棒呀！心都活起來了。站在覺得一切都有可能發生的小孩面前，自己也覺得心裡面充滿希望能量。

有時候我跟著他們一起重新學習，然後一起體會。曾經我們一起看過一本故事書《如果你想看到鯨魚》，那你就需要耐心等待呀！多麼美好啊！就是等待與期待。後來我們也真的跑去找鯨魚了，到了花蓮的海，被美麗的藍包圍著，我們一起去等待鯨魚。第一天沒等到，兒子很失望，說明天還要再來等，於是我們隔天又繼續去等鯨魚了，結果還真的被我們等到了耶！跳躍出海面的那一刻，雖說是鯨魚，但其實是海豚（海豚也屬鯨目）；雖然跟故事書裡出現的大鯨魚不一樣，但我們還是覺得好感動也好開心。但我想，如果是我一個人去，我可能第一天沒等到就會想算了吧，但小孩卻可以任性地想要再去等一次，再給自己一次機會。我想鯨魚應該也知道我們真的很想見見牠們吧，所以也開心地跳躍出海面來！我覺得這就像是心境與現實的連結而慢慢建構出的世界觀。將自己相信的事情盡力地去實踐它，然後成就了現在的我們所見。我們所見的也就是我們所想的，我是這麼相信著。

創作對我來說應該就像是許願一樣吧，把自己所想地寄託在畫面上，凝視你的美好，然後把它保存起來。

阿 Bon：

「媽媽我超級超級愛你，每天的愛都不一樣，因為每個愛都是不一樣的愛。」

收集著你的甜言蜜語。

走

自

路

述

會到的地方

A Place We Walk to Written by

Lo Chiao-Ling

It is just like a short trip in which I record companionship experienced together through childhood. In the micro-warmth discovered together with you, that smallness is the space between memories in which fantasy can be linked with reality, and the space that seems to be real and fake at the same time, just like a vague memory of a certain moment.

Bon :

“Mommy, my nose is stuffed with smells.”

We all grew up with innocent faces, talked in cute language, and felt happiness and sorrow about small things. Now look at yourself, your body has grown big, but your heart does not seem to want to grow up. I want to learn how to be as purely happy as you are, so I could seal all the important happenings and never forget them. We live in the world we have created ourselves in which, when we are happy, the whole world is happy with us. Sometimes I ask myself, “So what is it I want to do?” It still is very difficult for me to answer a common question from our childhood: “Who do you want to be when you grow up?” Everything is too realistic and dull. After a small talk with his classmate who wants to be a policeman, my son told me when he grows up he wants to be a police dog. He likes dogs, therefore he wants to be a police dog. Just great! It is a completely unrealistic and self-created heroic imagination. My son is living carefree in his

own imagination. A child’s innocence often attracts me. I think it is great that a child can have such an unrestrained and interesting life, and it becomes very easy to reach this unrealistic realm when having a conversation with a child. Dream princess, heroes, saving of the world, talking cars, magic, life in a cartoon world, all of this become possible. How great is that! Life feels like life again. When standing in front of the children for whom everything seems to be possible, I feel like hope is coming back into my heart. Sometimes I relearn and appreciate things together with my kids. After reading a storybook named “If You Want to See a Whale” we went to Hualien to look for the whales in a beautiful blue sea, but we had to be patient, we had to wait and keep our hopes up. The first day we could not see the whales and my son got very disappointed, but he said he will come back again tomorrow to wait for them. So the next day we continued on waiting for the whales, and they really showed up! Although the whales turned out to be dolphins, and although we did not see a big whale as the one in the story, but we still felt very touched and very happy. If I went alone, most likely I might have given up after the first day if the whales had not showed up, but little kids are willing to wait again, they give themselves one more chance. I suppose the whales also knew that we really want to see them, thus they happily jumped out of the sea! I think there is a link between the state of mind and reality that slowly builds the worldview. If one tries one’s best to put into practice things s/he strongly believes in, then hers/ his achievement is what we see now. I believe that what we see is what we think. Creation for me is like making a wish, placing all my hopes on canvas, staring at its beauty, and preserving it.

Bon:

“Mommy, I love you so much. Everyday love is different, because every love is different love.”

I collect these sweet words of yours.

Solo Exhibition

Lo Chiao-Ling

A Plac e We Walk to

作品

Artworks

壓克力 / 畫布 Acrylic on canvas 140×150 cm × 2 pcs 2016

黑板 A Blackboard

壓克力 / 畫布 Acrylic on canvas 140×150 cm × 2 pcs 2016

阿 Bon 的甜言蜜語 Bon's Sweet Talk

壓克力 / 畫布 Acrylic on canvas 140×150 cm 2015

小學生 A Primary School Student

壓克力 / 畫布 Acrylic on canvas 20×20 cm × 20 pcs 2016

同班同學 Classmates

No.1

No.5

No.9

No.13

No.17

No.2

No.6

No.10

No.14

No.18

No.3

No.7

No.11

No.15

No.19

No.4

No.8

No.12

No.16

No.20

同班同學—11 號 Classmates – No.11

同班同學— 1 2 號（局部） Classmates – No.12 (Detail)

壓克力 / 畫布 Acrylic on canvas 110×120 cm 2014

永樂 Yongle