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        My current practice focuses on my own rendition of the symbiosis between the inspirations I garner from John Cage and Sol LeWitt; I call it “the element of systematic chance.” In my work, I frame and control the incorporation of chance rigorously, and chance operations (such as dice rolling, clock watching, and I Ching consulting) only start and end according to my specific directions. In my woodblock prints, for instance, I design the coordination between numbers and carving actions, and use the results of chance operations to finalize patterns. In essence, I follow LeWitt to endorse a systematic approach as I polish instructions and echo Cage to remove my personality and taste to give way to my concept as I carve and print. 
        The seemingly contradicting energy between chance and the systematic logic greatly refines my perception of art. To me, adopting systems proposes combinations and honoring chance liberates the work for chaotic dynamics, and more significantly, my experimentation to achieve an in-between ideal prompts me to embrace how incidents of the unexpected can inform my artistic perspective. As a result, my latest practice pushes the limit of definition: I explore the potential of rotation and extreme carving in reduction printmaking, and I also emphasize printmaking-specific vocabularies like edition numbers and treat them as either direct subject matters or indirect abstract shapes for my works. Ultimately, I believe that my celebration of such experimental inquiries in a cross-disciplinary fashion promotes my artistic versatility.
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