「沉浸於此氛圍狀態的我，總能感覺到自我肉體與精神上的純潔無瑕」，屬於肉體與精神層面「最初的完好」。然而其中的宗教是聖潔的情境，與聖德瑞莎修女 自傳裡，宗教帶給予她的有所不同。

然而肉體與之時日逐漸成長，隨著青春期的到來，確也忘卻了兒時的純潔無瑕。青春期少男終將面臨到情慾的索討、同儕的邪淫A片之誘惑性，學校老師不敢觸及的健康教育問題，是種難以抗拒、墮入沉浸的狀態；青春期少男沉浸於A片與淫書淫圖帶來的奇特氛圍 裡，其中「以男性思維所建構起的物化女性體系，這其中也包含了『他者視線』的養成。」當然，我也曾深陷其中。
我的作品關乎著「他/她」者視線，早期作品係將遭受毒害所養成的「他」者視線之對象由社會物化了的女性軀體轉換為男性軀體，使其男性軀體皆成為了客體、受觀看的。無論是男或女皆享有此特權；其實儼然也成了反撲性的「她」者視線。而作品從一開始便係擷取時下少男少女自拍所呈現的私人面向之概念，它帶有自戀、敢曝、快感、挑釁、一種神經質的奉獻出肉體予觀者；因此，我皆藉由扮演自拍來仿擬，並以其成像來佐證參考，將抽象的情欲流體藉由肢體動作之繪畫性過程來達到這種物質性的轉換。
然而，時而藉由扮演將自我帶入一種流動和變化的身分狀態–也就是「酷兒」；時而又將帶有情欲的肉身主體昇華成聖像藉以諷刺。我，藉由繪畫創作的擬像實踐來維持這劇場（畫布）上完好的我。我，藉由扮裝擠壓出存於我心底的情慾，正視屬於自我的殘酷劇場，或許也是療癒的一種方式。

如同佛洛伊德所言：「對我來說，真實就是誠實地顯露，且具侵略性的，而非和諧而和緩的。」我真實誠懇的創作出我所見、所關注、所困惑、所疑慮的一切，迫使正視。

一直以來，我藉由寫實繪畫探討抽象的情感層面，那看似自畫像卻又貌不相似。在歷經身體病痛磨難過後，我藉由藝術摒棄慾望、昇華自我、回歸生命；我總認為人是不斷成長進步，除了從金玉良言中成長，也可從負向中參透成長。2009年進行《自體玩味》的系列時，我意外感受到繪畫可以宣洩慾望，進而期盼完人的雛形，而後卻發現那“完人無慾”太過妄想；因為我還是人，我也是動物。
藉由剖析自我形象與意識探究屬於人的抽象情感，自我調侃卻又自我絕美。自08年至12年的“自畫像”約可分為兩階段：08~10年嘲諷自省式的批判；10~12年聖潔完好的自許。大量的自畫像看似自我自信的表現，其實是補足自身的匱乏。

In my childhood, I immersed myself in the pen-style religious paintings. I could always experience the physical and spiritual immaculacy when I indulged myself in the state of peculiar and calm atmosphere. It is a part of the physical and mental aspects of ‘ the original intact ’ . Yet, the religious context mentioned here is holy. It is different from the “ecstasy”in Saint Teresa’s autobiography that religion gives to her.

While growing to maturity and the arrival of puberty, I gradually forgot the innocence of a child. Adolescent boys will eventually face the claims of sexual desire and the temptation from peers’ lascivious adult movie. It is a sensitive part of health education topic that teachers dare not to touch, and also a kind of hard to resist and falling immersed state. Adolescent boys immerse in the peculiar atmosphere which is brought from adult movie, pornographic books and images, in which “the system of objectifying the female is constructed by male-thinking, and it also includes the cultivated sight of ‘otherness. ” And, of course, I were caught in it.

My series of paintings will be about “his/ her” sight. The earlier works convert the object of objectified female bodies which is subject to the contaminative development of other’s sight into male bodies, and it forces the male bodies to become the objects of being watched. Whether you’re male or female, you are entitled to this privilege. Actually, it seems to have become the fight back of “her” sight. And my works from the outset is to capture the private-oriented concept by presenting contemporary boys and girls’ selfies. It involves narcissistic, dare to exposure, pleasant sensation, provocation, and a paranoid of dedicating their bodies to be observed. Therefore, I imitated them by playing the role of a boy who is taking selfies, used the formation of images to evidence and to be reference materials, and achieved the material transformation by showing the pictorial processes of physical movements from abstract sexual reception.

I sometimes brought myself into a fluid and various status by role-playing - that is “queer” ; or sometimes I satirize the erotic physical body by sublimating it into holy portrait. I maintain the intact myself by simulating practice of creative paintings. I extrude the sexual desires from the bottom of my heart by role-playing and face up to the cruel theatre which belongs to the self. It may be a way for healing self.

As Lucian Freud’s words: "For me, the reality is to reveal honestly, and to be aggressive, rather than to be harmonious and gentle." I truly and honestly create what I see, what I concern, what I confuse, and all what I doubt, and then force myself face up to it.

As Lucian Freud said, “My work is autobiographical, it is an attempt at a record.”

All along, I explore the abstract emotional aspect by realistic paintings. They all look like self-portraits but dissimilar with each ones because of the different sentiments. After experiencing and suffering from physical pains, I abandoned the desires, sublimated the self, and returned to life. I always believe that human beings grow up and make progress constantly, and in addition to become mature from words of wisdom, they can also comprehend the growth from negations. When I proceeded with the series of “sensual amusement”, I accidently felt I can unleash my desires, and then look forward to be a paragon model. After that time, I found the “paragon model without desires” is too paranoid. Because I am still a human being, and I am also an animal.

By analyzing the self-image and consciousness, I probe into human being’s abstract emotions. It is self-deprecating but self-accomplished through my paintings. The "self-portrait" can be divided into two phases from 2008 to 2012: Criticism in a sarcastic introspective manner from 2008 to 2010; self-expectation of being holy, pure and intact from 2010 to 2012. A great quantity of self-portraits make myself seem to be self-confident, but in fact, it is for making up the scarcity of my own.

書籍文本
1. 汪民安著.2007,《身體、空間與後現代性》,江蘇:江蘇人民出版社出版。
2. 三島由紀夫著,邱振瑞譯.2012,《不道德教育講座》,新北市:大牌出版/遠足文化發行。
3. 荷西‧奧德嘉‧賈塞特（Jose Ortega Gasset）著.姬健梅 譯 2012,《關於愛》,台北:商周,城邦文化出版。
4. 巴代伊（Georges Bataille）著,賴守正譯.2012,《情色論》,台北:聯經出版。
5. Jean Stengers et Anne Van Neck著,巫靜譯.2009,《自慰:一種巨大恐懼的歷史》,湖南:湖南文藝出版。
6. 權雅之主編.1993,《性愛美滋滋》,北京:華夏出版社出版。
7. 巴代伊（Georges Bataille）著,劉暉譯.2003,《色情史》,北京:商務印書館出版。
8. 黃衛總著,張蘊爽譯.2010,《中華帝國晚期的欲望與小說敘述》,南京:江蘇人民出版社出版。
9. 荒林主編.2004,《男性批判》,桂林:廣西師範大學出版社出版。
10. 侯文詠著.2009,《沒有神的所在-私房閱讀金瓶梅》,臺北:皇冠出版。
11. 李銀河著.2000,《酷兒理論:西方90年代性思潮》,北京:時事出版。
12. Jean Baudrillard著,張新木譯.2011,《論誘惑》,南京:南京大學出版。
13. Joseph Sandler,Ethel Spector Person,Peter Fonagy著,李俊毅譯.2009,《佛洛伊德的「論自戀:一篇導論」》,台北:五南圖書
14. 朱剛著.2002,《20世紀西方文藝文化批評理論》,台北:揚智文化
15. 細江英公攝.1962,《三島由紀夫-薔薇刑》,日本
16. 張羽芃撰.2011年9月,《藝術家雜誌–名家傑作–英國當代寫實大畫家 盧西安‧佛洛伊德》,台北:藝術家雜誌。
17. 莊偉慈、王涵智撰,2012年4月,《藝術家雜誌–她者視線–從克勞德・卡恩到辛蒂・雪曼》,台北:藝術家雜誌。
18. Arthur Pollard著,董崇選譯,1978,〈何謂諷刺〉,《西洋文學 術語叢刊》(上)臺北:黎明出版
19. 楊國安著.2007,《色情文化批判》,北京:群眾出版社出版。

電影文本
1. 李康生導.2009,《幫幫我 愛神》, 台灣:Homegreen Films出品。
2. 孫立基導.2011,《3D肉蒲團之極樂寶鑑》, 香港:Local Production, One Dollar Production Limited出品。
3. 蔡明亮導.1994,《愛情萬歲》,台灣:雄發電影、三一股份公司出品
4. 蔡明亮導.1997《河流》,台灣:
5. 蔡明亮導.1992《青少年哪吒》,台灣
6. 大島渚導1976,《感官世界》, 日本: Argos Films出品。
7. 伊娃‧尤涅斯科（Eva Ionesco）導.2011,《她媽媽的公主》,法國,佳映出品。
8. 麥當傑導.1991,《玉蒲團之偷情寶鑑》, 香港

期刊文本
1. 吳介祥撰,2010,〈亞洲當代藝術新世代-現實慾望超現實〉,《亞洲當代新藝術》。
2. 高榮禧撰.2008,《電影欣賞學刊–蔡明亮作品中的孤寂主題與情色策略》。

網路文本
1. 祁立峰著.2011,《臉書人生》,臺灣:中國時報http://life.chinatimes.com/2009Cti/Channel/Life/life-article/0,5047,11051801+112011041700078,00.html
2. 維基百科:聖像,http://zh.wikipedia.org/wiki/%E8%81%96%E5%83%8F
3. 李漁著.1657,《肉蒲團》又名《迴圈報》、《覺後禪》，章回體艷情小說，分《春》、《夏》、《秋》、《冬》四卷，每卷五回共二十回。http://zh.wikipedia.org/wiki/%E8%82%89%E8%92%B2%E5%9B%A2
4. 南無,http://www.wholehk.com/thread-2395-1-1.html
5. 藍祖蔚看《幫幫我 愛神》,e週報 vol.151
6. 維多莉亞: 天使與魔鬼中讓我最著迷的雕像: Ecstasy of St Theresa 聖泰瑞莎的狂喜http://vickiemercy.blogspot.com/2009/05/ecstasy-of-st-theresa.html
7. 基督的降臨：大紀元文化網 http://www.epochtimes.com/b5/3/10/7/c15002.html
8. http://www.mottimes.com/cht/gallery_detail.php?serial=20
9. http://www.mapplethorpe.org/biography/