人格考古學 Archaeology of Persona
插畫立體化 Illustration to Sculpture
從色鉛筆插畫到手捏陶塑，將平面的內在形象轉化為可以被觀看、觸摸與環繞的立體存在。 From colored-pencil illustration into hand-built ceramic sculpture.
插畫立體化分類 Illustration Transformed into Sculpture Categories
線條召喚 Line Summoning
線稿先召喚出角色的輪廓與氣息，再由陶土承接重量，讓內在形象從紙面走向立體。 Drawing first summons the contour and breath of a character; clay then receives its weight, allowing the inner image to move from paper into three dimensions.
樹精之舞 Dance of the Tree Spirit
幻化成形 Metamorphosis into Form
插畫立體化分類 Illustration Transformed into Sculpture Categories
面孔浮雕 Reliefs of the Face
這一段聚焦臉與凝視：線條中的眼睛、鼻與嘴，在陶塑中被加深成厚度、陰影與精神重量。 This section focuses on face and gaze: the eyes, nose, and mouth in the lines are deepened in ceramic form into thickness, shadow, and spiritual weight.
流形之面 Face of Flowing Form
眾面之形 Many-Faced Form
插畫立體化分類 Illustration Transformed into Sculpture Categories
反轉與共生 Reversal and Symbiosis
作品可以上下顛倒觀看，讓臉孔、植物與身體在方向轉換之間重新組合，顯示生命沒有固定的正面。 The work can be viewed upside down, allowing face, plant, and body to recombine as direction shifts, showing that life has no fixed front.
反轉的生命形 Reversible Life Form
凝視之面 Face of Gaze
插畫立體化分類 Illustration Transformed into Sculpture Categories
非表象系列 Nonrepresentational Series
非表象系列把自我、原貌、延伸與存有拆成多個陶土證據，使人格不以單一肖像出現，而以複合形體顯影。 The Nonrepresentational Series breaks self, original form, extension, and being into multiple clay evidences, allowing persona to appear not as a single portrait but as composite form.
非表象之原貌 Original Form Beyond Representation
非表象之延伸 Extension Beyond Representation
非表象之自我剖析 Nonrepresentational Self-Analysis
非表象之存有 Nonrepresentational Being
插畫立體化讓線條不再停留在紙面，而成為可以投下陰影、承受重量、被人繞行觀看的陶塑身體。 Illustration transformed into sculpture lets line leave the page and become a ceramic body that casts shadows, carries weight, and can be viewed in the round.
在平面與立體之間，人格像被一層層翻出來，既保留線稿的自由，也長出陶土的存在感。 Between flat image and three-dimensional form, persona seems to be turned outward layer by layer, retaining the freedom of drawing while growing the presence of clay.