記得當年我站在一片荒蕪的土丘上，遠眺大漢溪的河谷美景時，我想應該要從大地逐漸隆起，形成一座可登高的塔型作品，不僅可以提供觀者實際從高處觀看周圍美麗景緻，同時也能呼應鶯歌陶業的意象，所以才有《坯》作品的產出。
基地是回填的新生地，《坯》必須用八根地樁打入十五米深的岩盤上，才能夠支撐起十五米高巨大作品，這是在鋼構上以纖維水泥的素材，在現場內外披覆直塑成形的工法，也是我第一件必須要申請雜照的作品。好在當時有邱文傑建築師的大力協助，才得以克服有關結構及建築方面的問題。
《坯》是男女同體的象徵，外型雖像一坨陶泥，在轆轤上生疏地拉出的坯體，但又是男性的象徵，順著環形下坡道滑入作品內部時，又像進入了女性的胎體，旋梯攀牆而上，讓空間有完整的天井，雨水會從這落下，室內中央的積水會緩緩地從入口山牆之中間縫隙流出，這是女性會陰的象徵，縫隙正對的正東方向，早上的陽光，會形成一條光帶直入正中心，和從壁體上橫斜窗孔洩入的光帶，隨著時間緩慢地移動，與迴旋天花板上的人工照明相呼應，產生非常美麗的光之域！順著迴旋的樓梯拾級而上，依序在東西南北的定位上，分別設置可容納一人、兩人、三人、四人的小陽台，在陽台上可看到其他藝術家的作品及遠方的風景，意喻著在生命的旅途中將與更多人結緣，胎體的中上段是緊縮的空間，就像旋轉出生時，對母子來說，都是最緊縮、最痛苦的地方，通過之後就是一片可與世界連結與眾人結緣的大陽台！
I remember standing on a plain hill, gazing into the beautiful valley view of the Dahan River. And I was struck by a sudden notion, that there should be a gradually rising structure from the earth, forming a tower-like artwork. This not only allows viewers to ascend and behold the surrounding beauty from above, but also echoes the imagery of Yingge's ceramic industry. That's how the artwork《Pottery》came into being.
The site is a backfilled land, therefore, eight ground piles had to be driven into the bedrock fifteen meters deep in order to support《Pottery》, the fifteen meters high artwork. The construction involved using fiber cement material on steel frame, with the method of direct sculpting both inside and outside the site. It was also my first artwork that required permit application. Fortunately, with the substantial assistance of architect Jay Chiu, we were able to overcome the structural and architectural challenges.
《Pottery》is a symbol of intertwining the female and the male. Although its appearance resembles a lump of clay clumsily pulled from the pottery wheel, it symbolizes masculinity; as we slide down the circular ramp into the interior of the work, it feels like entering the womb of a female. The spiral staircase was built against the wall. The space opens up to a complete atrium where rain falls and accumulates in the center, then drain swiftly through the gap between the entrance, embodying the female perineum. The gap faces directly east, allowing the morning sunlight to form a beam straight into the center. Light comes in from slanted windows on the walls, creating a beautiful play of light throughout the day. Climbing up the spiral staircase, small balconies accommodating respectively one, two, three, and four people are positioned in the cardinal directions, offering views of other artists' works and distant landscapes, illustrating the connections made with others on life's journey. The mid-upper section of the womb-like space is tight, representing the tightest and most painful part of birth for both mother and child, but once passed through, it opens up to a large balcony connecting with the world and forging connections with others.
