我的繪畫是一種對自我的剖析與對社會現象的反映，相較於「避世」，我選擇一種以「入世」的態度來做為創作。我將這種關懷建立在愛情與情慾的不同看法上，並以第一人稱的角度切入，將這兩種議題作出整理，以符合我想表現的並列呈現以及反諷味道的詮釋。
東方繪畫在愛情與情慾的議題表現上，一向較為低調隱晦，在個人情感上，常常以隱喻或者借喩的方式來傳達愛情的宣洩與交流，而情慾的表達則以隱密的方式進行著。但在1987年台灣解嚴後，各類思想逐漸開放，情慾也不再是被箝制的議題，尤其在現今當代藝術思潮中，創作者多使用象徵或寓言的手法，讓觀者獲得更多的想像空間與令人發噱的畫面。
就創作形式而言，多採取的是後現代的思維模式。謝東山：「由於其組成是拼湊式的（pastiche），後現代文本便一開始不須符合因果關係的邏輯，而只要符合文本結構的需要。」，「……它們的構圖方式是嵌鑲式的、同時性的，而且也經常是非邏輯的圖示。」，意即為了畫面的需求，可將原本非關聯性的元素重新詮釋，作出有意義的連結，在更為模糊廣大的地帶當中，以戲謔、遊戲的方式來做出對畫面的解構。這並不只是單純的視覺效果與結構變化，而是更貼切的將各種單一物件做有計畫性的複合概念。
由以上的論點作為創作的基礎，從色彩的影響、圖像的指涉中談到自己的作品，將耽溺在愛情與情慾故事之中的人們，嘲弄的訴諸在畫面上，透露出對社會現狀或愛情觀感的無可奈何，如此，這樣的傷痛經驗表現在彩墨情色藝術上便具有更深的社會意義與價值！

As my paintings are a form of self-profiling and reflection of social phenomena, and rather than being introverted, I would rather choose a more “extroverted” approach toward my creativity. As a member of the society exposing to the society, what I see, hear, listen and come into contact are human events that exist in a society. Broaching from my own viewpoint and observing the current social phenomena, or by reviewing where I stand of a concern toward the social phenomena as influenced by the two, such concern is instilled on my different views toward love and desire. I attempt to interpret in a first person’s angle by sorting out the two subjects that supports to meet my desired expression and reflect an anti-cynicism interpretation.

Eastern paintings tend to be more subdued on the expression of the subjects of love and desire. To gauge from the long Chinese history, the expression of love and desire does exist, but it is less open as inhibited by the Confucianism. With the historical heritage factor passed down for thousands of years, the method of a subtle implication or undertone has often been deployed to convey the intimacy and intercourse of love. While the subject of desire remains a taboo hidden under the table, the prenuptial teaching where a mother shows her daughter the pleasure of intercourse is a prime example. With that, I do not attempt to convey my painting language using Western nudity, but rather provide the viewers with a slight distance in the imaginary space and provocation by using subtle suggestion, symbolic undertone or fables, would this project be more of the subtle beauty of the oriental spirit than a straightforward depiction of nudity? In spite that I have attempted to reserve a certain level of oriental vocabulary, yet as far as the subject matter is concerned, wouldn’t any new attempt or breakthrough be more accommodating and open to deriving the subject in oriental painting? To go by the medium, or would substituting herbal or mineral alum or cobalt with acrylic dyes, or substituting

To gauge by the form alone, what I have adopted is leaning toward a postmodernism thinking mode. Dong-Shan Shieh opined, “With its makeup being pastiche, the postmodern literary style has begun as a logic that does not need to comply to the cause-and effect correlation, but only meeting the needs of a literary style”, “… Their concept mode has been pastiche, and concurrently, and is often an illogical depiction.”1 Jacques Derrida asserted, “… Any ‘Sign substitution’ can be made into infinitely different interpretations. Thus such a structure provides no premises for a core point”2, meaning that for layout purposes, a reinterpretation can be made to irrelevant elements with a meaningful linkup to deconstruct the imagery with a quirky, game-playing method in a fuzzy, expansive realm. It goes beyond just the simplistic visual appeal and structural variation, but a more fittingly integrated concept to plan any given object.

Taking to the foresaid theorem as a foundation in creation, using colors and imagery to convey one’s works using a mirroring, suggesting technique by projecting the people indulging in a love and desire story in an imagery in an in inward manner, and offers a deterring effect by revealing the helplessness one feels toward the current society and perspective of love in a humoresque, whimsical tone, then such kind of sorrowful experience would provide a deeper social meaning and value!

一、中文文獻

吳垠慧，《典藏今藝術－新世代美學：動漫與藝術專輯》，典藏雜誌社，2004。
吳超然《台灣當代美術大系媒材篇---水墨與書法》行政院文化建設委員會，2003。
李振明，《李振明作品集三》，2006。
林玫君，＜探索性‧慾望‧文字的迷宮---閱讀《西洋情色文學史》＞，《國立編譯館刊》，2004。
林克名譯，《性學三論》，志文出版社，1994，佛洛伊德（Sigmund Freud）著。
林鉅，＜作為創作自述的創作內部風景---一個斷境狀態/戊辰年之屍＞，《典藏今藝術》，2002。
施世昱《台灣當代美術大系媒材篇---膠彩藝術》行政院文化建設委員會，2003。
胡永芬，《豔俗台灣---生活是如此裝扮》，大未來畫廊，皇冠藝文中心，1998。
宮竹正，《浮世狂歡浮世繪》，好讀出版社，2006。
袁金塔，（都會男女的文化閱讀－當代消費文明與水墨創作之思索），《彰化藝文》，2005/12。
高名潞，《另類方法 另類現代》，上海書畫出版社，2006，頁27。
張晴文，〈向未知的世界通聯－平面，00年代空間感〉，《藝術家》，383期，2007/04。
曹俊峰，《康德美學導論》，水牛出版社，2003。
陳英偉，《假設性後現代主義的虛實》，文史哲出版社，2000。
黃昱斌，《精淫搗》，2008。
楊衛，《沒有靈魂的現代性》，上海書畫出版社，2006年。

二、網路資料

人間四月天，http://www.ttv.com.tw/HomeV2/Pgm/drama/2003poet/2003pote.htm#pote000。
台北當代藝術館首頁，http://www.mocataipei.org.tw/_chinese/1_about/2_about_taipei.asp。
台北雙年展策展人鄭慧華談台灣當代藝術，http://priscilla.bluecircus.net/archives/005224.html。
台灣紅創意設計有限公司首頁，http://www.taiwanang.com/Ch/Web/Company/Company.asp。
田鼠實驗，
http://tw.knowledge.yahoo.com/question/question?qid=1005032501353。
色情與情色的差異，http://tw.knowledge.yahoo.com/question/question?qid=1004121101148。
那西塞斯圖片出處，
http://zh.wikipedia.org/wiki/%E8%87%AA%E6%88%80。
馬格利特論述，http://www.srcs.nctu.edu.tw/joyceliu/mworks/mw-interart/Magritte/Magritte'sImageTheory.html。
國立中央大學教學網，＜馬斯洛的人格理論＞，http://webclass.ncu.edu.tw/~wang024/ch1-3-high.htm。
符號學的定義與看法，http://tw.knowledge.yahoo.com/question/question?qid=1406080315215。
莎士比亞名句，
http://tw.knowledge.yahoo.com/question/question?qid=1206102409611。
荷爾蒙與性，
http://tw.knowledge.yahoo.com/question/question?qid=1406010521399。
寓言定義，
http://tw.knowledge.yahoo.com/question/question?qid=1007040900825。
普魯斯特名句，
http://tw.knowledge.yahoo.com/question/question?qid=1305083006460。
維基百科（Wikipedia），＜形而上學＞，http://zh.wikipedia.org/w/index.php?title=%E5%BD%A2%E4%B8%8A%E5%AD%B8&variant=zh-hk。
壓克力顏料的屬性，
http://tw.epochtimes.com/bt/7/11/6/n1892310.htm。
賽尚的印象畫作，http://big5.chinabroadcast.cn/gate/big5/gb.cri.cn/3321/2004/09/22/862@307891.htm。
顏料的命名，
http://tw.epochtimes.com/bt/7/11/5/n1891395.htm。