Flesh-Body_ , the first in the series, used clay to undergo the body's mysterious disenchantment and reveals. Through coiling, I built each work from bottom to top. On the other hand, I dismantle the original structures and then stitched them up. Going through the creation process, my fingers were led by the movement of my body, pushing clay out or pressing it in. My body and the clay bodies, at the same time, went through the process of mutual shaping. The works show organs and tissue inside the body such as blood flow in arteries and veins, which drape down in a curvy and wavy posture. I cast out the interior texture of the outer layer of skin and let things inside glow with moist gloss and mucous. As a thoughts-carrying container, the body had been hidden and taken for granted. It was now openly displayed for people to focus on.


當我說出「我的身體」這句話時，它意味著什麼？我在創作過程中將焦點回到身體，這裡的身體對我來說分為兩層：（1）在創作時我的身體感覺，以及（2）作品中呈現出的身體感覺形象。
 
 創作時正在運動的這個身體，似乎是我的又近乎陌生。此時我已先將意念、頭腦先放至後方，以近乎直覺式的意念行動，對我來說是向內的。當最後呈現在觀眾眼前時，似乎可辨認熟悉的感覺形象逐漸浮現，某種陌生感或奇異感的升起，恰好猶如我們對於自身身體所有的感覺認知，對我來說轉變為向外的。
 
身體作為承載意念的容器，將一直隱身在後，早已習以為常的存在，擺回到前方仔細凝視。而我在創作中使用的手法，是以一種製造觀者可能感受的情感挑戰，驚悚、恐懼、詫異、不安、疑惑等。我認為當神經系統被挑起時，長期處於被動位置的身體也將被召喚回來。​