沉浸於陽明山已有二十寒暑，由清明純淨的山色賦予個人靜謐的反省空間，山裡綿密的風雨營造出更沉靜、細緻的思維和與自然對話的機制。草山四季不時有雲霧籠罩，迷濛的天色與蒼鬱的樹影交織成有如神跡展現的光斑，藉由穿透性的逆光處理，流露出嚮往、追求那神秘、虔誠的心境，宛如宗教一般。
草山霧色系列於不知不覺中，應內在需要而逐漸成形，畫面裡潑灑的質感傾瀉、滌清個人莫名之抑鬱，它呈現了某種棄絕的意識。圖像符號得於自然，卻又忍不住欲解構之，在黑白、虛實、疏密、具象與抽象之間不停尋求平衡，緩緩前行，探索更為妥貼之心靈圖像。
It has been over 20 years since I was immersed in Yang Ming Mountain. Its clear, bright and pure scenery gives me a calm space for self-examination; the minuteness wind and rain in the mountain constructs a mechanism with quieter and delicate thinking to talk with the nature. Clouds and fogs always envelop the mountain in four seasons; misty color of the sky and green tree shadow interweave light spots like God's emergence, by means of penetrating back-lighted treatment to reveal the mental state aspiring after and seeking misty and devoutness, like region.
The serious of Foggy Yang Ming Mountain are formed accommodating the internal need unconsciously. The splashing feeling in the picture pours down and washes individual unaccountable depression, showing some discarded conscious. The picture and symbol are obtained from the nature, however that the painter cannot help but wanting to deconstruct, continuously seeking the balance between black and white, false and true, dense and sparse, concrete and abstract in order to explore more fitting spiritual image slowly.