I dug into the fruit people have every day and took mouth as an interface. Therefore, the mouth became the interior space I focused on. The sense of taste has become another path to penetrate the body. "Eating" indicates our needs, desire, and even life's driving force. First, I found common fruit in Taiwan. Second, I looked at the fruit carefully to imprint its form in my mind. Finally, I created one based on that image. During the process, I seldom looked at the real one again. Therefore, the complete form did seem like a certain type of fruit but was not a realistic copy. The form was a combination between my senses and imagination.    The flow of clay bodies and glazes reflected the fruits' forms and the open dissections done by me. The seeds and pulp reflected in the eyes were just like the human body's interior organs and structure. I used this expressive form on fruits cut wide open. As time went by, the ripe pulp and skins became rotten and dying. The clay bodies were kept at a frozen moment of being ripe and sweet thanks to the firing process.


甘甜有著古老而寬廣的涵義，是大自然儲藏能量的形式，生物從最初的母乳之中經驗到「甜」的滋味。任何美好美妙的事物，總會用「甜」來形容，或許這是一切慾望的原型。不過我取用水果的形象，並非特意討論水果背後的神話或象徵意義，而是單純的凝視著，想像如何讓線條更加張狂渾圓。
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從水果作為食物，延伸至口腔作為介面成為我之後關注的內在空間。它好似一層我們與外界的膜；或是一道門。而「進食」顯示了人們的喜好、需求、愉悅、慾望、貪婪甚至所有一切生命的驅動力。味覺作為滲透身體的途徑，過去所做的肉體形象假設是皮膚底下、身體內部，那麼進食就是將外部的「果／肉」吸收進入體內成為生長養分。
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血肉軀體是在視覺上的撩動，那麼到了水果形象的建立，就是主動的讓觀者「吃」進去，或許更具有侵略性，但對於我而言也更能引發觀者的移情共感，這是我開始做水果系列的最初動機。