繼2022年「不能承受的輕」之後，有近兩個多月的時間我停止了創作；因為感覺上，我已經把我近年所感受到的憤怒、悲傷、焦慮到無助，都通過山與水喃喃呈現。而我還未能消化當下看似正常但又千瘡百孔的世界，各人都仿彿脆弱得隨時瓦解。我不敢妄動，只能嘗試匿藏並觀察，卻發現腳下的地方已經變得面目全非。未能接受被世界孤立，我先築起洞窟孤立自己，逃離那個嘈雜喧譁的空間，並為自己建構一個專屬的樂園，祈求着一天能重拾好奇、再次對抗內心與世界的崩塌。這就是今次展覽「石窟遊樂園」的意圖。

Following the exhibition of " The Unbearable Lightness" in 2022, I ceased my creative endeavours for a span of over two months. It seemed as if I had imbued the murmurs of mountains and waters with the pent-up emotions of anger, sorrow, anxiety, and desolation that I had experienced in recent years. Yet, I find myself unable to assimilate the seemingly ordinary yet riddled world, where each individual appears fragile, on the brink of disintegration. Cautious in my actions, I retreat and observe, only to discover that the ground beneath me has undergone a profound metamorphosis. Unwilling to accept my isolation from the world, I constructed a sanctuary, a haven of my own making, seeking solace from the clamour and commotion. Within this seclusion, I yearn for the day when I may rekindle my curiosity, bravely confronting the implosion of my inner being and the world at large. Thus, this is the intention behind the exhibition "Landscape of Haven".

展覽介紹 Exhibition Statement

「公元366年，一位名叫樂尊的和尚雲遊至嗚沙東麓的宕泉河谷，希望尋求一片寧靜之地修行。突然，他目睹對面的三危山金光萬道，彷彿千萬佛在金光中顯現。於是他在山上開鑿了莫高窟的第一個洞窟，從此洞窟成了他修行的場所，崖上的靜室轉化佛陀的天宮。」故事傳開後，商旅、信使紛紛差使在敦煌修造石窟，作為住宿、生活、補給和禪修的場所，並進行各種宗教崇拜以祈求旅途平安。

是次展覽啟發於「樂尊開鑿莫高窟」的故事，通過「建構」一個又一個洞穴的景觀，以當代山水畫回應世界的荒誕與內心的掙扎。展覽分為兩個部分，第一部分以第一人稱的視覺展示了洞內外的風景，通過解構日常的視覺和傳統山水的模式與圖象，重新建構一個擠擁且孤獨的異空間，借以表達對外部世界的抗拒，並尋求著心靈上的安慰；第二部分則進一步解拆景觀，以建築模型配件的方式呈現，揭示創作背後的虛構性和堆砌性，邀請觀眾共同想像並「建構」屬於自己的洞穴。

In the year 366 AD, a monk named Lezun embarked on a journey to the Angquanzi Valley at the eastern foot of Mount Wusha, in search of a serene place for spiritual practice. To his amazement, he witnessed a spectacle of golden light emanating from the Three Dangerous Mountains across the river, as if countless Buddhas were revealed within the radiance. Inspired by this divine sight, he carved the first cave of the Mogao Grottoes on the mountainside, establishing it as his place of cultivation, with the tranquil chambers on the cliff transforming into celestial abodes of the Buddha. The tale spread, and thereafter, merchants and messengers flocked to Dunhuang to construct grottoes, serving as sanctuaries for lodging, sustenance, and contemplation while engaging in various forms of religious worship to invoke safe travels.

This exhibition draws inspiration from the story of Lezun Carving the First Cave of the Mogao Grottoes and aims to 'construct' a landscape of interconnected caves. Through a contemporary interpretation of traditional landscape painting,  it responds to the absurdity of the world and the inner struggles. The exhibition consists of two parts. The first part visually presents the landscapes inside and outside the caves from a first-person perspective. By deconstructing the conventional visual and traditional landscape patterns, it reconstructs a crowded yet solitary alternate space. This expresses resistance towards the external world while seeking solace for the spirit. The second part further deconstructs the landscapes, presenting them through architectural model accessories. It reveals the fictional and assembled nature behind the creative process, inviting the audience to collectively imagine and "construct" their own caves.