House in Blue consists of a group of acrylic works on wooden panels and an oil painting on canvas. The series begins with the natural, irreproducible texture of wood. I do not treat the grain as a neutral background, but as an active part of how the work produces meaning. The wood itself carries traces of difference, time and individual experience. Unlike industrial surfaces polished into smooth uniformity, the subtle shifts, cracks and irregularities within the grain preserve a state of being that cannot be fully standardised. They suggest a form of selfhood that refuses to be flattened, controlled or absorbed into a single order.

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In the wooden panel works, simplified house-like lines are drawn across the surface. These lines do not depict real dwellings. Instead, they act more like temporary markers of the self’s boundaries. They define the relationship between inside and outside, shelter and exposure, while remaining open, unstable and unfinished. The “house” here is no longer a fixed architectural form, but a fragile structure through which the self is repeatedly imagined, protected and questioned.

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The oil painting on canvas pushes this enquiry into a more fluid pictorial space. If the wooden panels hold the intimacy and resistance of material grain, the canvas opens the question of home through colour, movement and psychological intensity. Layers of oil paint, shifting tones and wandering lines create a more unstable field. Here, home is no longer a clear outline, but a more emotional, uncertain and outwardly expanding psychological state. The canvas does not conclude the wooden works, but allows their questions around boundary, shelter and selfhood to continue unfolding.

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Together, the wooden panels and the canvas painting explore home not as a stable place, but as a boundary that is constantly being negotiated. The work reflects on how, in a world shaped by standardisation, homogeneity and external pressure, the individual might still preserve their own texture, vulnerability and difference. House in Blue asks whether a sense of shelter can still be rebuilt when both home and identity remain temporary, fluid and unfinished.

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《House in Blue》由一组木板丙烯作品和一件布面油画共同组成。这个系列以木板天然、不可复制的纹理作为起点。我并不把木纹视为中性的背景，而是将其作为作品中主动参与意义生成的部分。木材自身携带着差异、时间和个体经验的痕迹。相较于被打磨至光滑统一的工业化表面，木纹中细微的变化、裂痕和不规则性，保留了一种无法被完全标准化的存在状态。它暗示着一种不愿被抹平、控制或吸收进单一秩序的自我形态。

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在木板作品中，简化的房屋线条被绘制在材料表面。这些线条并不是对现实居所的描绘，而更像是自我边界的临时标记。它们划定内与外、庇护与暴露之间的关系，却始终保持开放、不稳定和未完成的状态。这里的“房子”不再是固定的建筑形式，而是一种脆弱的结构。通过它，自我被反复想象、保护，也被不断质疑。

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布面油画则将这一问题推进到一个更加流动的绘画空间之中。如果说木板作品保留了材料纹理中的亲密性和抵抗感，那么布面油画则通过色彩、运动感和心理强度，将“家”的问题进一步打开。油彩的层次、变化的色调和游移的线条共同构成一个更不稳定的场域。在这里，家不再是清晰的轮廓，而是一种更情绪化、更不确定、也更向外扩散的心理状态。布面作品并不是对木板作品的总结，而是让其中关于边界、庇护和自我的问题继续延展。

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木板与布面油画共同探索的，并不是作为稳定地点的家，而是一种不断被协商的边界。作品反思的是，在一个被标准化、同质化和外部压力持续塑造的世界中，个体如何仍然保存自身的纹理、脆弱性和差异。《House in Blue》由此追问：当家与身份都不再稳定，而是始终处于临时、流动和未完成的状态时，庇护感是否仍然可能被重新建立？