『旅館』代表的是一種特有的空間意含，對我而言它可能象徵的是一種暫時性的『擁有』，同時也是一種消費性的語言，當我把自己放在這個空間的時候，開始感覺到對這個短暫擁有的空間產生出很微妙的情感變化。放行李、換裝、淋浴、上廁所、吃東西、看電視、睡覺、起床、整裝、再離去，每一個所發生的行為都與空間產生一個非常緊密的關係，在我的思維中我的角色只是個過客，這種經驗性的生活在我每一次的工作裡不斷地循環與發生，所以我以一種紀錄式的方法，除了‘忠實’呈現此一過程，也用另一種角度去觀看屬於一種自身的存在證明。

《旅館計畫二：HOTELS》作品以我慣用的拼湊手法呈現，將三十六張看似相同調性的攝影影像組合成為一張大幅作品。這也許像是旅遊雜誌中一些旅社的介紹圖片，但卻是經由我主觀的認知而刻意選擇出：「在小世界旅行之中，我所認為最有異國情地調的代表場景。」不附加文字說明，只以影像來傳達該空間所屬的文化國度，這是屬於非常個人的生活體驗，或許，這些影像可以提供觀者進入一個異想的空間；或許，這些影像正巧碰觸到觀者自身相同的異國體驗：或許，作品的影像只是個似真實的虛度國度而不存在。對我而言，它卻是帶領我穿越該黏貼的壁面進到屬於格人私秘的經驗。

“Hotel” represents a specific kind of space which has a special meaning.

For me, it may symbolize a temporary “belonging,” which is also a consumer language. When I laid myself in the space, I started to feel subtle changes in my mood in space I owned temporarily. I put away my luggage, changed my clothes, took a shower, went to the toilet, watched TV, got up, got dressed and left again. Every action related to the space closely. In my mind, I was nothing more than a passerby. This kind of experimental life repeated in my career. Thus I recorded the process to present it “honestly” and examine my existence from another perspective.

“Hotel Project II: HOTELS” was presented, as I used to do, in patchwork-like picture which was made of 36 seemingly same photography. The picture may look like those in travel guidebooks, yet they were chosen intentionally by my subjectivity to” represent the most exotic scenery of my journey.” Without words, I expressed the cultural realm, which was a very personal life experience, through photography only.

Perhaps, these images could let viewers in a whimsical space; perhaps, these images happen to remind viewers of similar exotic experiences; perhaps, the image of the work, though looking real, does not exist. For me, it leads me through the wall and dive into my personal experiences.