創作理念
出生、成長、學習、生活於台灣。
台灣是人口密度極高的島，因此「人」也成為自身創作中聚焦探討的。創作靈感總是從個人的生活體驗而來，進而延伸到像孤獨、束縛，又或矛盾的情感，持續通過肢體來改變這些情感並轉化為外在形式。 對於我來說，生活和創作有著如此多的共同點。 他們都是從空白到滿溢的積累過程。身體之於舞蹈語彙解釋和發現了生活中的經驗。雖然簡單和笨拙，但真誠，亦沒有隱藏。
我出生和成長在自由但保守的國家，充斥著矛盾，因為我們總是試圖打開我們的手臂擁抱來自於外在的訊息，但我們仍然繼承了上一代的諸多習性。在矛盾的社會氛圍底下，藝術表演成為獨特的「隱性語言」，我認為這皆從文化和社會環境中汲取而來，我試圖尋找這種情感的外顯方式。近年藉由與世界各地藝術家的接觸與合作，希望自身能藉此看見不同文化下的舞蹈風格與動作發展，以及在問題的討論之後審視自己，而在自己的作品中涉入更多樣化的想像力。
Artist Statement
Taiwan is a small island located in the Pacific Ocean. I was born and grew up here. I am an Oriental. I’ve learned dance since childhood. In university, I majored in dance performance, and earned the degree of Master of Fine Arts in dance. In the process of learning, I learned Chinese traditional dance, modern dance, contemporary and ballet. We had a wealth of training. After graduating from school, I began to collaborate with various dance companies and choreographers in Taiwan, and performed and toured all over the world.
Taiwan is a island with large population. Therefore, "Humanity" has also become the focus on my choreography. My inspiration has always came from individual living experience and focused on the concepts of human beings, extending to the emotions like the loneliness, the manacle, and the contradiction. I have been inspired by the moment of feeling in life and tried to transform those feelings into external forms by the expressions of the body.
In my perspective, life and creation share so much in common.
They both accumulated objects as a growing tour from nothing to something. The performance language of dance is not used to illustrate the fake or speculative emotion, but it interpreted the discovery and experience of life. Though the performance looks a little straightforward and clumsy, it is still fairly sincere and without hiding.
The place I was born and grew up is a free but conservative country. It sounds kind of contradictory, because we always try to open our arms to the outside information but still we have many constrictions inherited from the older generation. With the contradictory condition, the artistic performance shapes into the unique “recessive language.” I think it is a feature formed from the culture and social environment, and I have tried to look for the reasons of their appearance. With the contact, interaction, and cooperation with artists around the world, I can examine myself after viewing different choreography styles, movement developments, and discussion of issues, and to involve in more diverse imagination in my own creation.
1984生於台南。現為自由藝術工作者，從事創作以及不同形式之肢體表演，並為劇團擔任肢體動作設計。
2015年作品《洞》榮獲第十四屆台新藝術獎提名，2016新版獲文化部與法國編舞中心邀演，於2017外亞維儂藝術節法國編舞中心CDC演出。2016年獲「文化部藝術人才出國駐村及交流計畫」資助，於巴黎西帖國際藝術村（Cité Internationale des Arts）駐村創作，同年獲西澳Steamwork Foundation與國藝會國際交流補助，赴西澳柏斯參與Sally Richardson主導之跨國計畫。2017獲印度Dance Bridge Festival邀請，赴加爾各答演出獨舞作品《莖》。
與世紀當代舞團、周先生與舞者們長期合作，演出前者《婚禮‧春之祭》、《蒼穹下》(兩廳院1+1雙舞作)，後者《看得見的城市，看不見的人》(兩廳院1+1雙舞作)、《1875》、《2012重演－在記得以前》等，亦與獨立編舞家賴翠霜、林祐如、陳維寧等合作，並為余彥芳「默默計畫」創始成員之一，發展長期合作。
2008年起於國內外諸多平台發表個人創作，如台北藝術節《 》、新人新視野《凝滯》、《路》、《旅人》，「下一個編舞計畫」《莖》、《她們在眼睛的角落挖了一個洞》、世紀當代舞團驅動城市系列、墨爾本Dance Massive舞蹈藝術節與ADF美國舞蹈節等。2014年開始為劇團擔任肢體動作設計與表演者，曾與莎士比亞的妹妹們、河床劇團、差事劇團、風格涉、好野工作室與耳邊風工作室合作。