在現今這個社會，虛假的意象充斥在人們的生活，真實已被眾多假象所遮蓋，如果還是隨意的使用這些表面意象來感知這個社會，感知到的社會又有幾分真實，而對於城市的繪畫創作更是如此，貼近於這社會真實感知的方式應該還有很多，藝術的呈現手法也不僅止於具象表現。因為有這樣的體會，促使筆者反思並重新嘗試於描繪眼前景物。
於研究所的這段時間裡，暫時放下了以往熟悉的創作模式，轉而直接於真實景物前觀看，感知眼前景物所帶給筆者的真實情感，並經由心理的轉換加以描繪出來，經由細小色點的堆疊及扭曲線條的排列，描繪當時心理細微或劇烈的情感變化，並於多次的現場描繪堆疊，在此景物描繪裡，形成了此時變動且扭曲的城市意象下，心靈所投射出的情感形貌。於此，這似乎形成了對於景物的另一種表達的方式。
而經由這樣實際於現場觀察並加以描繪的過程中，在繪畫過程裡無意識的狀態下，似乎與城市建築有了一些聯繫，心理與建築的感知之間似乎形成了一種對話，一種不再是單純描繪房屋的外型，也不是單純的反映內心，而是同時感知體驗著這座城市變動扭曲的氛圍下，人們不安的情感與城市建築對話的結果。長時間的繪畫過程裡，不單只是描繪房屋形體或是光影照射的變化，還有心理情感於這段時間裡投射在景物中的情感形貌，並藉由這樣的觀看方式於繪畫過程中，一次又一次與景物對話的過程中，擷取當下感知的情感形貌記錄在畫面上，慢慢積累並加深於變動城市中心靈於景物裡的投射。
這樣心理與建築的對話關聯，使筆者與景物間多了另一種觀看的方式，繪畫上也多了一種描繪上的表達方式。

In the contemporary society, people’s lives are filled with unreal images which conceal truth in various forms. If people still comprehend the society with these unreal images without cautious consideration, it would be hard to tell what the truth would be. I apply this thought to my ways of painting metropolitan images. There should be more ways to comprehend the real society. Besides figurative expression, there would be more techniques of presentation of art as well. Therefore, I reflected what I have done in painting, and attempted to figure out some other ways of painting metropolis.
During my studies in graduate school, I temporarily suspended my regular ways of painting and turned to directly observe real scenes, to feel my true affection to them. I portrayed them through my psychological transformation, piled up tiny spots and twisted lines to draw some trivial or fierce emotional changes. Through repeated practices and revisions, my drawings turned into moving and twisted metropolitan images, and they became the projections of my mental images. For me, the ways of drawing seem to be alternative ways of presenting metropolitan images..
Through the process of observation and depiction, and through my unconscious status during my drawing, I felt psychologically connected with metropolitan buildings, and dialogues appear between my mind and my sensation to buildings. The dialogues have been formed neither through my portrait of the shapes of buildings, nor through simple reflection in my mind. They are the consequences of the dialogues between people’s agitation and metropolitan buildings. During my continual practices of drawing, I have not only depicted the figures of buildings and the variation of light and shadows, but also my feeling to these figures projected through the metropolitan scenes in my mind. Through applying these ways of observation to the ways of painting, and through the dialogues between my mind and metropolitan scenes, I grasped the spontaneous feeling and portrayed them on my drawings, and accumulated them into the projection of unstable metropolitan images. This kind of dialogues between my mind and buildings offers me other new ways of observing metropolitan images as well as new ways of presenting my new drawings.

一、參考書目
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二、網路資料
1.天下雜誌:〈耕耘的人太少，收割的人太多─太陽花週年總檢討(上)〉。
http://opinion.cw.com.tw/blog/profile/309/article/2519 2015年1月27日檢索。
2.財團法人國家電影中心:〈輕撫島嶼的傷痕 專訪《看見台灣》導演齊柏林〉。
http://www.funscreen.com.tw/headline.asp?H_No=485 2015年1月27日檢索。