Artist Statement

藝術家自述

I have always tried to begin from art, bringing together robotics, sculpture, and artificial intelligence to explore how technology can become more than a functional invention — how it can serve as an artistic medium that carries emotion, thought, and cultural imagination.

To me, the robot is not only a symbol of future technology, but also a projection of human civilization, desire, and ideals. Through handcrafted form and structure, combined with contemporary AI elements, I hope to preserve both the trace of the human hand and a sense of futurity, creating something that exists between sculpture, machine, and narrative.

In Bygone Tomorrow, I deliberately gave the sculptural form a sense of brokenness, incompleteness, and asymmetry. This is not meant to create a simple aged effect, but to allow viewers, at first sight, to feel that time has already passed through it — as if it had once been the most advanced and futuristic product of another era, but now returns to us only in a reawakened state after a long passage of time.

I want to preserve this contradiction: it is clearly old, yet still futuristic; it resembles a relic, yet it can still speak; it seems to come from the past, yet it carries the presence of contemporary artificial intelligence. This tension is precisely the core of what I wish to express — once the future is realized, it begins to become the past; and the most cutting-edge creations of one era will eventually become traces within time.

Bygone Tomorrow extends my ongoing reflection on time, technological development, and human imagination. I hope that when viewers encounter this work, they do not simply see a robotic artwork, but feel again that the future we face today is also something that people of the past once deeply believed in and imagined.


我一直嘗試以藝術作為出發點，將機械人、雕塑與人工智能結合，探索科技如何不只是功能性的發明，而可以成為承載情感、思想與文化想像的藝術媒介。

對我而言，機械人不只是未來科技的象徵，它同時也是人類文明、慾望與理想的投射。透過手工製作的外形與結構，再結合當代人工智能元素，我希望讓作品同時保留人的痕跡與未來感，形成一種介乎雕塑、機械與敘事之間的存在。

在《過去的未來》之中，我刻意讓雕塑外形帶有殘破感、不完整感與不對稱設計。這並不是要把作品做成單純的舊化效果，而是希望觀眾在第一眼看見它時，便能感受到一種時間已經經過的痕跡——彷彿它曾經是某個年代最先進、最具未來感的產品，但經歷漫長歲月之後，今天只以一種被重新喚醒的姿態再次出現在我們面前。

我想保留這種矛盾感：它明明很舊，卻又很未來；它像遺物，卻仍然可以與人對話；它像來自過去，卻又承載着當代人工智能的存在。這種衝突，正正就是我想透過作品表達的核心——未來一旦被實現，便開始成為過去；而那些曾經最前衛的創造，終有一天也會成為時間之中的痕跡。

《過去的未來》延伸了我對時間感、科技發展與人類想像力的思考。我希望觀眾在看見這件作品時，不只是看見一件機械人創作，而是重新感受到：我們今天所面對的未來，其實也正是過去某個時代曾經深信不疑的想像。