本文以寫、真、象、表現作為個人創作相關研究，由四個命題延伸的相關課題，作為釐清本次創作概念的參閱，以及如何運用這四個命題的相關美學、藝術史、觀念、表現方法，作為個人創作的基礎。而這四個命題能夠彼此相互影響、融合，共同建構一個創作的思維或表現。也能個別分開去討論其單純的價值，而各自擴張其理念發展。甚至能將這四個命題，放置到不同的年代或社會環境，因個人文化、民族、環境、時空的影響而能做出變化以及多元的呈現。
「寫」，包含東方美學的思考意涵，關於水墨思考及中國水墨媒材運用的範疇討論。「真」，探討筆者對於客體，如何從外在的形似基礎，跳脫客觀而進入精神共感，並彰顯其內在的「形」。「象」，在中國美學的解釋，重視內在情感和通盤理解，具有天人合一的美學觀，也融合了表現、寫、真的概念蘊含其中。「表現」，分別代表各種不同的呈現方式，因民族文化影響，東方及西方相異的特徵或手法；以及表現美學理論為基礎，在德國發生的表現主義運動，以及擴及到全世界呈現的面向；甚至是包含「表現」相關的觀念、手法的呈現。
筆者以這四概念為基礎，縮小範圍找尋本次創作相關的藝術語彙，包括醜的美學、水墨、堆疊、破碎語彙、象徵、意到筆不到、「圖地」關係、原始、原生藝術概念、黑色等等。以上述相關的思考作出梳理，尋找相關的藝術家或是作品，而引領筆者參考，實踐，思索如何作為本次作品的風格呈現及技法實地的運用。
在上述探討過後，最後回到自身的關照和個人的情思的抒發，以三方向的探索和比較，發展出死亡系列、生命關懷系列、動物系列的作品風格詮釋，以及相關藝術語彙的開拓。藉由系列作品，述說筆者近年來對生活的感受，對自身的醒悟，社會議題的關心，國際事件發生的回應和心得。這包括瘟疫，戰爭、疾病、難民等各種議題的感觸，並從精神層面探討死亡、離別、失落、重生的聯想與啟發。運用圖象的象徵性語彙，以破碎、黑色、壓抑意象，連結到人與植物、動物，延伸出相關元素的應用。另外，關於街友、移工、阻街女郎、底層工人的描繪，對於人的命運、角色、生活的無奈，造就出人的生活樣貌情狀，這些觸及社會關懷的部分，也讓筆者思考該如何去看待和省思。
筆者認為藝術創作，看待身邊的人事物，必須抱持開放的態度、同理心，在接納和感受過程中，從生與滅，試著理解這宇宙或「道」要帶給人類何種體會。筆者從題材、技術，發展出作品的實驗和對話，雖以藝術史和過去傳統為基礎，但最後都能拋開框架，而能以「自性」去抒發內心的映照。
本次研究以東方書畫的研究美學為基礎，和西方藝術做比較和連結，這在創作上有「混搭」和「融合」的可能性。在學理上，選擇適合本次創作相關的元素和概念，雖說比較主觀、選擇性的、跳躍式。但相對上，創作也是比較「感性」的作業，因此如何讓「不可能」、「衝突」、「不相干」，最後都能成為「可能性」，也正是考驗筆者「歸納」和發揮創意的一項挑戰。

This article takes writing, truth, image, and expression as related research on personal creation. The related topics extended by the four propositions are used as a reference to clarify the concept of this creation, and how to use the related aesthetics, art history, concepts, and expression of these four propositions. method as the basis for personal creation. These four propositions can influence and integrate each other to jointly construct a creative thinking or expression. They can also discuss their pure value separately and expand their conceptual development separately; they can even place these four propositions in different eras or social environments, and can make decisions based on the influence of personal culture, nation, environment, time and space. Change and diversity.
"Writing" includes the connotation of thinking about Eastern aesthetics, as well as discussions on the scope of thinking about ink and the use of Chinese ink media. "True" explores how the author breaks away from objectivity and enters spiritual empathy based on the external shape of the object, and reveals its inner "shape". The interpretation of "Xiang" in Chinese aesthetics emphasizes inner emotions and comprehensive understanding, and has an aesthetic view of the unity of nature and man. It also incorporates the concepts of expression, painting and truth. "Expression" respectively represents various ways of presentation. Due to the influence of national culture, the different characteristics or techniques of the East and the West; as well as the Expressionism movement that occurred in Germany based on the theory of expressive aesthetics, as well as the expressionism movement that spread to the world. Orientation; even the presentation of concepts and techniques related to "expression".
Based on these four concepts, the author narrowed down the scope to find the artistic vocabulary related to this creation, including ugly aesthetics, ink painting, stacking, broken vocabulary, symbolism, the unexpected, the relationship between "map and ground", primitive and primitive art concepts. , black and so on. Sorting out the above-mentioned related thoughts, looking for relevant artists or works, and leading the author to refer to, practice, and think about how to present the style of this work and apply the techniques on the spot.
After the above discussion, I finally returned to my own care and expression of personal emotions. Through exploration and comparison in three directions, I developed the style interpretation of the death series, life care series, and animal series, as well as the development of related artistic vocabulary. Through a series of works, the author describes the author's feelings about life in recent years, his own awakening, his concern for social issues, and his responses and thoughts on international events. This includes feelings about various issues such as plague, war, disease, and refugees, and explores the associations and inspirations of death, separation, loss, and rebirth from a spiritual level. Using the symbolic vocabulary of images, broken, black, and depressing images are used to connect people, plants, and animals, extending the application of related elements. In addition, the descriptions of homeless people, migrant workers, street blockers, and low-level workers, as well as the helplessness of people's fate, roles, and life, create people's life appearance and situations. These parts that touch on social concerns also make the author think about this. How to see and reflect.
The author believes that when creating art, you must have an open attitude and empathy when looking at the people and things around you. In the process of acceptance and feeling, from birth and death, try to understand what kind of experience this universe or "Tao" will bring to human beings.The author develops experiments and dialogues in the work from subject matter and techniques. Although it is based on art history and past traditions, in the end he is able to put aside the framework and express his inner reflection with his "self".
This study is based on the research aesthetics of Eastern calligraphy and painting, and compares and connects it with Western art. This has the possibility of "mixing" and "fusion" in creation. In terms of academic theory, choosing elements and concepts that are suitable for this creation is quite subjective, selective and leap-forward. But relatively speaking, creation is also a relatively "emotional" task. Therefore, how to make "impossibility", "conflict" and "irrelevance" finally become "possibility" is also a test of the author's "induction" and creativity a challenge.