The subject matter for this work comes from things in my everyday life, friends and familiar interactions. While working in a clothing store in Hsimending for a period of time, I came into contact with every kind of person and popular culture. I created this series Gong Yang Ren from my memory. This series is an extension of the idea of donors (in Chinese pronounced as Gong Yang Ren ) found in the Buddhist frescoes in the caves at Dunhuang. In the past tributes of self sacrifice were made for spiritual (religious) worship and veneration. My Gong Yang Ren describes the exaggerated brightness and beauty of decorative culture and the desire for the best quality, name brands and popular items. I am afraid that the pursuit of name brands was long ago sublimated into a kind of spiritual activity or has even developed into a religion. The original purpose of clothing didn't go any further than keeping us warm and hiding our unbecoming nakedness. At the start of the historical monarchical period, divisions in social hierarchy dictated what people wore and indicated their social position. For example, only the emperor was could wear the dragon robe, and dress for the common people was limited to certain colors. Today, fashion not only can symbolize social position, but also suggests a profession or even hobby for some. What was originally an object devised to cover our naked bodies, has become something that dictates our identity, and in this way controls our bodies. As clothing has come to define us and help us identify others, the roles of subject and object between people and their clothes has been reversed in a paradoxical relationship. The figures in my work are perhaps wearing similar name brands or styles, and they share fashion choices that are more particular than average people. One article of some brands like APE and AG can easily cost over ten thousand New Taiwan dollars, especially the popular “Bathing Ape in Lukewarm Water” way of dressing. For this kind of price you can buy labels that many people are familiar with, such as LV and Burberry, so when people choose a name brand, they are also choosing attributes for themselves. I put Lohans in my work to protect the name brands, and they are equipped with more expertise concerning name brands and styling than the Gong Yang Ren. The Lohans are like idols who are worshiped by Gong Yang Ren, and are distinguished persons (this phrase "達人" means a person who is good at something and comes from Japanese, but now is popular in China). The explanatory text in the work is written as a first person narrative, is a mixture of English and Japanese and is coordinated with content in the images. Using ink and glue-resist, I paint the outlines of the figures, making the work look like printing blocks or photo negatives. A photographic negative indicates a person's memory or feelings taking shape. I use bright and neon colors, colors that are found in popular contemporary consumer items as my stencil pigments. I use these stencils repeatedly on wide paper, to echoing the duplication of the popular symbols that I emphasize. Because the paper is so big, I have to stick it to the wall and then stand on a chair to work, thus the time element in my working method is clearly shown. The flowing ink preserves the painting process in the finished work, along with the progressive development of the stamped section. This looks like color peeling off of an old fresco painting, and is just like human feelings and memories gradually passing, gradually appearing in blank space. The subject matter for the work comes from photo-booth stickers that I made with my friends or by myself in the past. To take the photos people have to decide on the subject matter or role playing, they either release the shutter themselves or have someone else do it, and the image is kept after the flash goes off. That moment, that space and memory all become compressed onto a small two-dimensional sticker. In this way memory becomes a fabricated and consumed thing. I use painting as my medium to recreate these photographic images. I also create depth on the two dimensional plane because I don't want these memory fragments to be completely two dimensional and completely consumed. The expressions of the figures are blank and wooden, and the entire image uses a flood light technique. I do this to express the current silliness and helplessness of youth and to create a feeling of stability and uniformity. This doesn't make the individual's personality stand out, it presents a kind of normalcy as I attempt to get closer to the atmosphere of the suspended moment when the picture was taken. Perhaps my work involves a few points of view of this generation, but I am definitely not under the strict standard of those values, nor am I blindly chasing after these fads. My use of this vocabulary or subject matter, in my opinion is the deepest and most direct thing. Also, I hope I will be able to honestly face my work under any circumstances regardless of the popular fads of the times.