每个作品都是从倒置于报纸等附垫物体上开始成形的。我用敲打过的一条条含有纸品的陶制粘土来分层构建这种作品。之所以用含纸品的粘土是因为这样可以保证有足够的力度与柔韧度，以便保证其下部足以支撑上边大面积的建造，同时还可以避免因时间长久等外界因素所导致的粘土裂缝及出现难看的洞眼等的情况发生。

    与传统的容器不同，这种镂空艺术品上面留有无数小洞，只要有光线穿过小孔，内部就会出现相应的的斑斓多姿的光点。我将不断扩大这种新作品的规模，使该作品成为一件能够通过捕捉光线而表现 其自然美的佳作。

    这种作品外表脆弱得惊人，而实质却异常牢固。我想通过表现在作品之上的光线的活动和那种波动不息来反映一种生命的延续。我的兴趣就是要通过作品力度与柔度的对比及光线的集中来表现运动之美。

       Each moiré sculpture begins its life inverted over a newspaper armature .I layer my construction with hammered strips of earthenware paper clay .The paper content provides the strength and flexibility to allow for large-scale works and supports the subsequent tearing and perforation of the clay.

       In contrast to the vessel as a traditional marker of containment, the Moiré is pierced to release its interior space with a positive and light filled shadow. This new body of work continues to expand in scale, pushing the work into a “landscape”arena, capturing the light with the clay.

       As in the flux of nature ‘s growth and  decay, I want the movement and undulating form of the Moiré suits to reflect a continuum of life .I am interested in the dichotomy of strength versus fragility and the movement of the light with the clay.