我以離開家鄉到異地求學生活的經驗為出發點，以繪畫的方式詮釋那些生活在家鄉和異鄉的日子，有感於家和求學之地距離遙遠，而不能常常回家而產生一種思念之情，同時也以一個觀察者的角度觀察著在異鄉生活的所見所聞以及和家鄉的差別。並嘗試透過魔幻寫實的風格表現另一種繪畫詮釋的可能。
除了以華特‧班雅明（Walter Benjamin，1892-1940）提到的「漫遊者」（Flâneur）談起，及西格蒙德‧佛洛伊德（Sigmund Freud﹐1856-1939 ）提到的「詭異」（Uncanny）來討論與我作品的關聯及自身心理因素外，本論文中，也分析魔幻寫實藝術家的作品與我的創作相關處及比較。
本論文寫作分析之作品包括研究所時期2014年至2018年6個系列作品《人類製造》、《有角動物》、《海上遺跡》、《舒適圈》、《航行》和《家園》。《人類製造》我以生鮮超市販賣的食材當作繪畫主題。碩二之後的創作改變了原來擅長的寫實繪畫，開創新的繪畫風格，色彩偏向高彩度。《海上遺跡》、《舒適圈》嘗試靠著想像力編導安排畫面結構。《航行》以生活中出現的場景為背景，海洋生物成為生活在這空間環境的居民，把主體轉換成漫遊在空中的海洋生物，透過牠們講述我的成長經歷及對生活的感受。《家園》是對自然環境的關切，人類對自然都會有想要改變塑造它們的慾望，改變就會有開發、建設，人類對自然的影響，甚至改變它們的樣貌，但不一定都是不好的，我們都是在建築適合我們的家園。

Building on personal experiences of living and studying away from home, I depicted in paintings the days when I lived in hometown and the days when I lived in a foreign land. Well aware of the nostalgia caused by the distance separating one from his or her hometown and making it hard to return home frequently, I observed the life experiences in a foreign land and how they compared to the experiences with my hometown and then adopted the magic realistic style as an alternative way of interpreting images.
Starting with an introduction to “Flâneur” mentioned by Walter Benjamin (1892-1940). The “Uncanny” mentioned by Sigmund Freud (1856-1939) as well as how they are related to my works and psychological factors. In this study, the works by magic realistic artists were also analyzed and compared with my creative works.
The works analyzed in this study were six series of works that I created when studying in a graduate school during 2014-2018. These works include “Made by Human”, “Animals with Horns”, “Ruins on the Ocean”, “Comfort Zone”, “Stroller”, and “Homeland”. “Made by Human” is a series in which I attempted to use the food ingredients retailed at supermarkets as the theme. After the second year of my graduate study, my painting style changed from realistic painting to a new style characterized by high chroma. “Ruins on the Ocean” and “Comfort Zone” are the works in which I tried to arrange the image composition based on imaginations. “Stroller” is a work with day-to-day scenes as the background, and marine life as the residents in the environment. Through the marine life, depicted as the subject that wanders in the air, I narrated my growing experience and perceptions of life. “Homeland” shows the concern for the natural environment. Every human has an inborn desire to change and shape the natural environment. We are building a homeland suited for ourselves.

Walter Benjamin作，《發達資本主義時代的抒情詩人：論波特萊爾》，張旭東、魏文生　譯，台北：臉譜，2010。
Albert Camus作，《異鄉人》，張一喬　譯，台北：麥田，2009。
Ilse Sand作，《高敏感是種天賦：肯定自己的獨特，感受更多、想像更多、創造更多》，呂盈璇　譯，台北：三采，2017。
吳錫德，《法國製造：法國文化關鍵詞100》，台北：麥田，2006。
胡朝聰，《交界迷蹤》，台北：尊彩藝術中心，2014。
連建興，《連建興Lien Chien Hsing》，台北：誠品畫廊，2012。
鄧仁川，《「魔幻寫實繪畫」之探索》。臺灣師範大學美術學系學位論文。2013。

網路及影音文獻
Home - Jeremy Geddes Art, http://www.jeremygeddesart.com/
Sigmund Freud, “The Uncanny”, Translated by Alix Strachey, 1919. http://web.mit.edu/allanmc/www/freud1.pdf
《少年PI的奇幻漂流》，李安，美國：二十世紀福斯，2012。
《你的名字。》， 新海誠，日本：東寶，2016。
熊道森，〈了解Magic Hour,抓住拍攝時機〉。http://fotomen.cn/2014/06/magichour-2/