Maybe nothing happened on the opposite side of the
playground, but I was in a happy mood

painting ; performance recording
dimensions variable, 5’40’’
2015

The exhibition space was originally a temporary office of a construction company. It faces a sports field of an elementary school. On the back of the space is the usual scenery of a small alley. The only thing worth mentioning is the well-organised vegetable garden which looks like a wasteland if not observe carefully.

I stood outside the window and started sketching on the only interface (the window) that opened out in the space. The back alley's scenery had undergone a freehand change in the realistic depiction of colours and shapes, like a landscape postcard held in the palm of my hand which made familiar things become distant. The sketching action named "Maybe nothing happened on the other side of the sports field, but I was in a great mood" is a self-contradictory plot in itself, becoming a rehearsal of how I had come and then chose to leave.

也許操場的對面什麼事也沒有發生，但我心情愉快

繪畫；行為紀錄
尺寸依場地而定，5’40’’
2015

展場原為某建築公司的臨時辦事處，面朝某座國小操場，背後則是再尋常不過的後巷風景，值得一提的只有那一塊看似荒地，仔細觀察後才發現是片受到居民妥善整理的菜園。那菜園並不單屬於某戶人家，而是由附近的居民共同耕植而成，我還記得第一次通過狹長灰白的建築體，走向窗邊一望、視野便咻地—掉入一片綠意的違和感。

我站在窗外將空間中唯一向外開展的的介面（窗戶）上寫生，後巷的景色便在色與形的寫實描繪中產生了寫意的變化，彷彿一張握在手心的風景明信片，將熟悉的事物變得遙遠。而被命名為「也許操場的對面什麼事情也沒有發生，但我心情愉快」的寫行動本身就是個自我矛盾的情節，成了一場我曾來過而後選擇離開的預演。