Even when life often feels lonely, we can still choose to connect — and rediscover the beauty between us.
即便生活常常讓人感到孤單， 但我們仍然可以主動去連結人與人之間的美好
This series of Sofa Monster fashion designs marked the beginning of my practice as I know it today, and my first encounter with existentialist thought.
At the time, I was living alone, renting a room with just one chair in it. I often sat there by myself. I thought of early Taiwanese society, where the living room sofa used to be a gathering place — extended families, neighbours, and friends would sit together, close and relaxed, talking for hours. Sitting on that chair in my rented room, I realised that in today's society, everyone is too busy, left only with themselves.
That was when I began to imagine that furniture itself might be lonely too — quietly waiting for someone to come home, leaning on the person who sits upon it, as company. This thought became the starting point of Sofa Monster.
此系列沙發怪獸服裝設計作品是我今日創作實踐的起點，也是我第一次接觸存在主義思想的開始。 那段時間我一個人在外租屋，房間裡只有一張椅子，我常常一個人坐在上面。想起早期的台灣社會，家裡的客廳沙發是聚會的地方——大家庭、鄰居、 朋友，會親近地、放鬆地一起坐著聊天。坐在自己租屋處的那張椅子上，現在社會中每個人忙得只剩下自己。 於是我開始想像傢俱本身或許也是孤單的——它悄悄地等待著人回家，並依偎著坐在它上面的人，作為陪伴。這個念頭成為了沙發怪獸的起點。
By borrowing the structural language of furniture — its details, its weight, its way of holding — and translating it onto the body, I began asking deeper questions: about presence, about solitude, about what it means to be held.
These questions eventually led me away from the body altogether, toward furniture itself: objects that cannot undo the isolation of contemporary life, but can, in their own quiet way, offer companionship within it.
透過借用家具的結構語彙，它的細節、它的重量、它承載的方式，並將其轉譯到人體之上， 我開始思考更深層的問題：關於存在，關於孤獨，關於 「被承載」意味著什麼。 這些疑問，最終將我從人體帶離，走向家具本身： 那些無法消除當代生活孤獨感的物件，卻能以它們安靜的方式，在孤 獨之中提供陪伴。
The monsters hold hands — this is the heart of the series. Even when life often leaves us feeling lonely, as long as we're willing to reach out to one another, we are no longer alone.
怪獸們牽著彼此的手，這正是這系列作品的核心——即便生活常常讓人感到孤單，但彼此只要願意伸出手，我們就不再孤單。
