- Size： 90x60 cm
- Material：Wood engraving Edition no. 21
- Year： 2018
- Price：台幣 NT$82,000
- Depiction： Through the perspective of time, space and lines of light, I reinterpret the works of three artists I admire: Michelangelo, Hokusai and William Blake. Once upon a time, printmaking was popular in Europe. Murals and oil paintings that were originally owned only by the nobility could now be popularized among the middle and lower classes through the etching and printing of printmakers, thus comforting the souls of more people. Today, there are rare printmakers who still paint stroke by stroke, but popularizing images is no longer important. What is important is how to insert contemporary language into the consistency that has not changed from ancient times to the present, and to present the overlap between the past and the present. The "translation" ability of prints seems to be a feature that is no longer discussed, but in Europe from the 16th to the 19th century, the translation function of prints was once exerted to the extreme. The function of expressing the tones, shades, and composition of oil and tempera completely through lines into a black and white yet richly layered printmaking language can be aptly called "translation." Because oil painting and printmaking are indeed like two different languages. How to express the artistic conception of oil painting through printmaking, convey the message, and at the same time add a unique style and contemporaneity. The "Lost in Translation" series is a large-scale woodcut print that pays tribute to the master. The Last Judgment is a translation of Michelangelo's frescoes in the Sistine Chapel into print form, with some personal extended thoughts added to it. Michelangelo took six years to complete "The Last Judgment". This plate is 90 x 60 cm long and wide, 3 cm thick, and weighs at least 15 kilograms. It was made from May 2015 to October. During the plate making period, he kept thinking and speculating, rereading Michelangelo's notes, related historical materials, and novels during the creation of the Sistine Chapel; he also constantly introspected and clarified his own creative motivations. When I was printing the first edition, I realized one thing when I carefully pulled the print off the master plate: the lengthy process of printmaking is exactly the time the printmaker needs to get along with his work, so that each work is the result of time-consuming incubation and reflection. Classical masters often spend years or even decades creating their works. Their works are no longer simply forms, but rather the communication of energy that can only be achieved through the accumulation of time.