本案拆解貨櫃成骨(鋼結構)和皮(底板、側板和地板面)，以其形式、物理個性將貨櫃在海運體系中的歷程轉化為空間經驗，傳達出貨櫃在大洋上隨浪無定向前行中，那一條領海和公海之間虛化、想像的界線在視覺上變得難以判讀的樣貌。
In this work, dissected containers are used—the steel frames of containers as the bone and the top, bottom, and side panels as the skin to represent the form, experiences, and physical characteristics of sea transportation. The representation echoes with the voyage of containers across the ocean, crossing the imaginary and visually undetectable boundaries between territorial waters and international waters.
方方正正、大多是密封狀態的貨櫃們，看似單調、平靜，實則裝乘著許多精彩萬千的世界。日以繼夜地進出口，也構成一個無限往返傳輸的時空。本作品以兩個不同方向，象徵來自不同地區的貨櫃，雙向互為進出，構成一個「無限」的符號，以表現出貨櫃的流動性與生命力。
Containers are square and mostly enclosed structures. They may seem dull and quiet but, inside them, there are actually a myriad of exciting worlds getting shipped from one place to another every day and night. In a sense, they form a kind of paralleled time and space being transported back and forth incessantly. The two containers in this work are connected by two curvy flows going in opposite different directions, symbolizing containers traveling in and out of two different regions. The two flows also form a symbol of infinity, which represents the dynamism and energy of container transportation.
用「人」字的角度為起發點，將不同大小的貨櫃進行分割重組，以斜桿方式營造出內與外之空間的層次感。再借用火車彩繪體代表著人生的高低起伏和不可預設的旅程。思考在人生道路上遇到困境和各項打擊時，如何運用樂觀的心靈，走出層層難關。
The work is inspired by the form of the Chinese character, “ren” (human). Containers of different sizes are cut and reassembled diagonally to create a sense of dimensional depth between the interior and exterior spaces. The exterior of the work is painted to look like a train carriage, a symbol of life as an unpredictable journey full of ups and downs, twists and turns, with a view to inspiring thoughts about how to face and overcome all the challenges in life with positive thinking
理念是傳說中的蒙古死亡蠕蟲 神秘且強大的傳說色彩讓這片沙漠瞬間如異世界般引人遐想 破繭而出的身姿粗獷且侵略 彷彿訴說著它就是這片大地的主宰。
The concept of this work is the legendary Mongolian Death Worm. Its mysterious and powerful presence in the legends turn the desert into a dangerously alluring place out of this world. Its rugged body and aggressive posture breaking out of the ground seem to manifest that it is the dominator of this land.
從高雄港每個月出貨 806357 個貨櫃中挑選三個貨櫃。我們利用堆疊的方式創造出空間感,其中堆疊的方向象徵著貨船會沿著 xy 軸開到世界各地,為了使人能一探究竟貨櫃中所裝載的內容物,我們將其剖開創造出實與虛的對比,貨櫃內部利用方盒表示其中的貨物,而方盒上的 logo 象徵會有個是國家品牌存在其中。在三個貨櫃中,頂端的貨櫃會有陽光透入,藉由光的折射會使透明的方盒有如星星般璀璨,象徵著希望及未來。
Three containers are selected out of the 806,357 containers shipped out of Kaohsiung Port in one month on average. We pile up the three containers to create a sense of spatial dimensions. The containers are aligned along two directions, the x and y axes, symbolizing the directions of the containers shipped to the rest of the world. The containers are also cut open partially to reveal the boxes inside them. On each of the boxes, there is a brand logo, suggesting that there are goods of this brand in the corresponding box. Through the top openings, sunlight can come through the three containers and, with the refraction of sunlight, each of the boxes will sparkle like stars, symbolizing hope and the future.
短暫的日式美學，以戲謔的意謂，在貨櫃裡置入日式空間，在貨櫃裡體驗日式感受。
This work is a humorous representation of the Japanese aesthetics of transience. By transplanting a Japanese home space inside a container, this work invites viewers to experience the Japanese aesthetics inside the enclosed structure.
作品名稱「家」(Home)，用一個20呎的貨櫃作為基礎元素，將他分為3個不同的階段：封閉-半開放-開放，對映著人離開家的3個階段，由封閉安全的家一步步到達充滿未知的外界，也就是異世界，將這些意象作為這次的設計內容。
The basic element of this work is a 20-foot container, which is divided into three sections: closed, semi-open, and open sections to reflect the three stages of a person starting with staying in the safe and closed space at home to preparing to leave home and finally venturing outside into the unknown world outside. The images of such a transition is what the work intends to convey.
一艘老舊的方舟,在一方天地間駐足,憑著自身的科技帶來了水源與綠意.歲月流逝,水積成海滋潤土地,而方舟也老舊的無法行駛,依靠著土地提供的能源繼續產生水源,兩者相互共生著.而最初的駕駛看著鏽蝕的主控室與地圖,想著當初的來時路,坐在開闊的空間靜靜地感受一切。自然與科技相互並進,我們被兩者推著前進也促使兩者的相互發展,共生能否達成永生?
An old ark settled down in one corner of a world, using the technology it carries to generate water and grow plants. As time goes by, the water generated by the ark has accumulated to form an ocean, continuously nourishing the land. However, the ark is now too old to sail and can only continue to generate water using the energy from the land. There is a symbiosis between them. The captain of the ark looks at the rusty panels and the map in the control room, thinking about those days of first arriving here and quietly taking in everything in front of him in the open space. The complementary symbiosis of nature and technology pushes us forward and, as a result, we also promote their further complementary relationship. Will such a symbiosis become an eternity?
