“我做木版有自己的方法。有另一種帶有隨意性，以刀筆;另一種，印刷的程序和傳 統的木版正相反:先印板，之後是帶顏色的板，最後印白。 印淺色，呈現出場景的特 性，每本印刷作品都有奇特的試驗，和‘20x20’系列的相似，印刷的創作過程，在不 斷的調整中，不斷地探索我的驚喜。對‘印’的紋痕地方的減少同樣出現在這批木刻 畫的創作中。我將在這批木刻版畫中創作。 這些偶然的意外既包含著我的刻刀刀具的 控制，也由木木板的材質、刻的種類決定。不可預知的細節讓我的作品的秘密與自然， 隱藏的一般暗示著創作時運動的狀態與心的變化。”

“I always have my own way of doing chromatic woodcut. There is one kind with more randomness created by X-Acto knife. While there is another kind has the reversed printing procedure compared with the traditional chromatic woodcut: firstly having the printing forme, and then the coloured plate, in the end I applies it with pressure on blank paper for the result. Printing with lighter colour shows the features of different scenes. Every book of printmaking includes some unique experiments. Similar to ‘20x20’ series, the more I explore and adjust the printing procedure, the more surprises I meet. These woodcuts have less grain marks to be printed in which I would do a series of creations. All these accidental outcomes not only decided by the way I control my knives, but also influenced by the texture of wood and the techniques of carving. Unpredictable details are what connect my work with nature. Those hidden parts often reveal my movements and mentalities during creation.”