From Soul to Canvas:

How I Find My Muse

Hi friends, 親愛的朋友們，

A lot of you voted on my story that you’re curious about how I get my inspirations for art — so here it is. I’m excited to share more intimately about what stirs my imagination, what moves me to create, and how certain moments, sensations, and symbols quietly (or wildly) become paintings.

很多人在我的限時動態投票說想知道我的創作靈感從哪裡來— 那我就來分享了。很開心可以更私密地跟你們聊聊，是什麼喚起了我的想像，推動我創作，又是哪些時刻、感官、或符號，在悄悄地（或是猛烈地）變成畫面。

Why I paint different themes?

I’ve received questions like: “Why do you paint such different subjects?

sometimes florals, sometimes landscapes, sometimes abstract cosmos?”
The truth is, each theme reflects a different chapter of my inner world.

很多人問我：「你為什麼會畫那麼不同的主題？有時是花、有時是風景、有時是抽象或星球。」

其實，每一個主題都對應我內在的一個時期。

Before 2023, I painted mostly florals — especially loose, abstract ones.
At the time, painting flowers made me feel like I was bringing beauty into the world.
It was soft, flowing, playful. I loved experimenting with color and form.
But if I’m honest, I was also painting to seek validation —

to be seen as the beautiful artist, or the beautiful girlfriend.
And it worked.

That was how many of you first got to know me — as the artist who paints flowers.

2023年以前，我大多畫的是花——特別是自由筆觸、抽象感的花。
那時候，畫花讓我覺得自己在為世界帶來美。
創作的過程是自由流動、柔和又好玩，我喜歡在顏色與形式中嘗試。
但老實說，那時的我，也在透過畫畫尋求外在的肯定

想成為大家眼中「美的藝術家」，或「美的女朋友」。
那也是多數人一開始認識我的方式：畫花的藝術家。

When I paint flowers, I usually begin with one reference photo.
But since my style is loose and abstract, the painting often evolves into something quite different.
It’s no longer about copying

it becomes a feeling, a rhythm, a kind of essence that stays, even if the form changes.
Sometimes the flower dissolves into just a color mood or a gesture

but you can still sense it was once a rose, an orchid, or something blooming.

畫花的時候，我通常會從一張參考照片開始。
但因為我的風格偏抽象、筆觸自由，畫面常常會慢慢變成另一個樣子。
不再是複製畫面，而是轉化成一種感覺、一種節奏、一種精髓。
有時候，那朵花甚至在畫面中解體，只剩下色彩的氛圍或手勢的痕跡

但你仍然可以感覺到，它曾經是一朵玫瑰、一朵蘭花、或某種正在綻放的存在。

In my early days, my floral paintings bloomed in soft, pale watercolors

delicate, abstract, and easy to love.

They mirrored the version of me who sought to please,

who longed for approval from the outside world.

But after 2024, my flowers changed.

They became less abstract, painted in gouache with bold, solid, unapologetically opaque colors.

They no longer asked for permission to exist.

I stopped caring whether anyone understood me or liked me—

and, in a twist I never expected, that’s when more people began to truly resonate with my work.

在早期，我的花卉畫綻放於柔和、淺淡的水彩之中，

細膩、抽象、容易被喜愛。它們映照著那個渴望取悅、追求外界認同的自己。

但 2024 年之後，我的花變了。

它們變得不那麼抽象，改用廣告顏料創作，大膽、厚實、毫不掩飾的顏色，

不再需要獲得存在的允許。我不再在意別人是否理解或喜歡，

而諷刺的是，正是在那時，更多人開始真正與我的作品產生共鳴。

I’ve written in depth about why roses and orchids in two previous posts.

I’ll link them below if you’d like to explore more:

關於玫瑰與蘭花的意象與意義，我寫過兩篇比較深入的文章，

連結在下面，歡迎你慢慢讀：

🔗 [Why Roses 為什麼我畫玫瑰]
🔗 [Why Orchids為什麼我畫蘭花]

For me, abstraction is born in moments when emotions overflow

when the weight inside grows so heavy I can hardly breathe.

In those moments, I turn to abstract painting:

to release, to go wild, to break free from all outlines and rules.

對我而言，抽象創作誕生於那些情緒滿溢、幾乎讓我無法呼吸的時刻。

當內在的重量過於沉重，我便轉向抽象畫

釋放、瘋狂、突破一切輪廓與規則。

Splashes and colors become my compass, guiding me into raw freedom.

If art is a language of emotion, then my abstracts speak the loudest,

carrying the rawest, most intense, and sometimes even the ugliest, most bitter feelings.

And it is precisely this unfiltered intensity that makes them more powerful,

more honest, and more authentic than anything else I create.

顏料的濺灑與色彩的流動成為我的指南，帶領我進入最真實的自由。

如果藝術是一種情感的語言，那麼我的抽象作品就是最響亮的聲音

承載著最原始、最強烈，有時甚至最醜陋、最苦澀的情緒。

正因為這份未經修飾的強度，使它們比我其他作品更有力量、更誠實、更真實。

After 2024, something shifted.

到了2024年以後，我的創作開始轉變。

My work started to lean more toward landscapes, skies, and planets.
The themes got more vast, more elemental —

like I was painting not just beauty, but transformation and memory.
Will I return to florals one day? Maybe. Inspiration moves in cycles.

我開始畫風景、畫天空、畫星球。
畫面變得更寬廣、更元素化，好像不只是想傳遞美，而是某種轉化與記憶。
未來會不會再回去畫花？也許會吧。靈感本來就像潮汐，有週期性的流動。

**Landscapes:**
**From Discipline to Embodiment**

風景畫：從修行到全身感知的轉化

In my earlier days, painting landscapes felt like training for monks.
It was almost a form of self-discipline — even self-torture — because I pushed myself to paint realistically.
That’s also why some of my earlier landscapes took years to complete.
I was learning to see, to be patient, to stay with the details even when it was uncomfortable.

You probably know how much I love spending time in nature.
The landscapes I paint are often born from the scenes I’ve experienced during my travels —
moments when I stood still, gazing far into the distance, soaking in colors, shapes, light, and space.
It’s not just a visual memory — I try to transmute the whole-body experience onto the canvas:
the sound of birds, the feeling of wind brushing my skin, the temperature, the smell of the earth.

剛開始畫風景的時候，對我來說就像修行者的訓練。
那是一種自我鍛鍊，甚至可以說是一種「折磨」，因為我強迫自己畫得很寫實。
所以過去有些風景畫，我真的花了好幾年才完成。
那是我學習如何「看見」、如何耐心、如何在不舒服的細節中停留的過程。

你們應該知道我有多愛待在自然裡。
我畫的風景，常常來自旅行中經歷的片刻
那些我靜靜站著、凝視遠方的時光，在觀察顏色、形狀、光影與空間。
但不只是眼睛看到的畫面，我試著把整個身體的感受都轉化進畫布：
鳥鳴的聲音、風吹過皮膚的觸感、空氣的溫度、土地的氣味……

A painting becomes a memory-portal
畫面變成了一個記憶的入口

Something that carries the weight of stillness, presence, and sensory memory.
承載著靜止、臨在與感官記憶的重量。

Planets & the Universe: A New Way of Seeing

行星與宇宙：一種新的看見方式

In 2025, after spirituality found me, something shifted.
I felt a deeper connection with the universe — with energy, symbols, and unseen forces.
And that connection began to appear in my paintings.
I started painting planets, cosmic landscapes, and forms beyond Earth.

到了2025年，當靈性走進我的生命，我的創作也開始改變了。
我感覺自己與宇宙連結得更深了——能量、符號、那些看不見的力量。
這種連結也開始在我的畫裡浮現出來。
我開始畫行星、畫宇宙的風景、畫那些不屬於地球的形體。

My process also changed.
Instead of using just one reference photo, I began collecting multiple ones —
layering them, mixing them, bending them with my imagination.
The final image no longer came from just one place — it became a composite of the visual and the energetic.
A memory, a dream, a vision.
I was no longer just painting what I saw, but what I felt between the stars.

HD-wallpaper-moon-in-front-of-sun-near-neptune-eclipse-neptune-space-nasa-top-secret.jpg

Solar-system-Jupiter-satellite-sun-space_iphone_640x960.jpg

創作的方式也轉變了。
不再只用一張參考照片，我會收集多張圖片，
疊加、融合、再用想像力去扭轉與延伸。
最後的畫面不再來自單一圖像，而像是記憶、夢境與感應的組合。
我畫的已經不只是眼睛所見，而是我在星際之間「感覺到」的畫面。

More Layers, More Meaning

When Beauty Meets Depth

當美走向深度

In my earlier years, I already sensed that I wanted more than just creating something eye-pleasing.
But I wasn’t ready yet — not emotionally, not spiritually.

在早些年，我其實就已經感覺到自己渴望創作一些比「好看」更有意義的作品。
但那時的我還沒準備好，無論是情感上還是靈性上。

In 2025, as I began healing my relationship with the divine feminine,

I also deepened my connection with my own body — especially my menstrual cycle.

I no longer wanted to see my period as a burden.
I wanted to honor it as sacred.
That’s why I chose to paint planet Venus using my own period blood.

直到2025年，當我開始療癒內在的神聖女性能量時，

我也更深地連結上自己的身體，

特別是與月經週期的關係。

我不再想把經血視為羞恥或麻煩。
我想要把它當作神聖的存在來看待。
所以我用自己的經血，畫出了金星。
這是一場儀式

把過去被視為禁忌的東西，轉化為神聖。

Woven Blood 血織

My grandmother was Atayal, one of Taiwan’s indigenous peoples. Though colonization banned her from wearing the sacred facial tattoo, I carry her story in my body. Atayal women wove to mark their passage into womanhood— Their threads became ceremony, their skin a canvas of strength. When I placed my period blood on my face, I felt the force of generations rise within me. This is a moment of reclaiming my divine feminine, of honoring every woman in my bloodline.
我外婆是台灣原住民泰雅族的女性。
因為殖民統治，她無法擁有屬於女性的神聖紋面。
但她的力量，透過我的血與身體傳承下來。
泰雅的女孩要學會織布，才能成為女人、擁有紋面。
我把經血抹在臉上的那一刻，
祖先女性的靈魂與能量湧入我的身體。
這是我向神聖女性力量致敬的時刻，
也是我對祖先女性的深深感謝與承認。

Surrender and Mastery

臣服與掌握之間

With abstract florals, I often don’t know what the final painting will look like.
There’s freedom in that — it’s about trusting the flow, letting the painting reveal itself to me.
But with landscapes and planetary art, after years of practice,

I now have the skill to bring my exact visions to life.
I can shape what I see in my inner world and translate it onto the canvas

almost like giving form to a dream.

It’s a dance between surrender and mastery.
Both are sacred to me.
Both are necessary.

畫抽象花卉時，我常常不知道最後會畫出什麼樣子。
那是一種自由，是一種信任流動、讓畫自己「說話」的過程。
但畫風景或行星時，經過多年的練習，我現在有能力把我腦海裡的畫面清楚地實現出來。
我能夠把內在世界的幻象具象化，像是在為一個夢境雕塑形體。

這是一場在「臣服」與「掌握」之間的舞蹈。
對我來說，這兩種狀態都很神聖，
也都是我創作旅程中不可或缺的一部分。

Intuition vs Intention

直覺與意圖

When I paint abstract florals, there’s freedom in that

I often begin with loose splashes of paint and let them guide me.
Each gesture becomes a dialogue with the unknown.
It’s spontaneous, playful, and rooted in surrender.

But with landscapes and planetary art, it’s different.
After years of practice, I now have the skill to bring a clear vision to life,

almost exactly as I imagine it.
These works are more intentional, more precise.
I still use paint splashes sometimes — but only to create stars, a sky of cosmic dust.
The rest is shaped by layers of vision and quiet discipline.

畫抽象花卉時，我常常不知道最後會出現什麼樣的畫面。
那種未知本身就充滿自由，我通常從潑灑顏料開始，讓色彩引導我下一步。
每一筆都像是在跟未知對話。
它是自發的、輕盈的，也是一種臣服。

但風景與星球作品就不一樣了。
經過多年練習，我現在有能力將腦中的畫面清楚地實現出來。
這類創作更有意圖，也更精準。
我有時也會潑灑顏料，但只用來創造星星、宇宙塵埃的效果。
其他部分，則是經過一層層的構思與沉靜的打磨。

Immersed in the Senses

沉浸在感官中

After 2024,
2024 年之後

my landscapes became the result of multiple visits to the same place.
我的風景畫來自多次造訪同一地點。

I took my own reference photos—both in daylight and under the stars

and lingered long enough to absorb not just the view,

but also the smell of the air, the sound of rustling leaves,

the shift in temperature, the whispers of both new moon and full moon nights.

My landscapes are now born from the full spectrum of sensory experience,

giving the work a dimensional, almost breathing presence.

Tree studying and moon studying have become my superpowers,

allowing me to convey the unique energy they radiate and the silent conversations they share with me.

我親自拍攝白日與夜晚的參考照片，

也花時間浸潤在當下，不僅僅是眼前的景色，

還有空氣的氣味、樹葉的聲音、溫度的變化，以及新月與滿月之夜的低語。

我的風景畫如今是所有感官經驗的結晶，讓作品更有層次與立體感。

觀察樹木與月亮已成為我的超能力，使我能夠傳達它們散發的能量，

以及它們與我之間的無聲交流。

I don’t just let my brush flow freely like I used to with abstract flowers.

Each landscape starts with practice,

studying different trees, observing their forms, textures, and energy

before I tackle the final, larger piece.

我不再像以前畫抽象花卉時那樣任由筆隨心而動。

每幅風景畫的創作，都先從練習開始—

觀察不同的樹木，研究它們的形態、質感與能量，然後才著手完成大幅作品。

This careful preparation allows me to channel not just what I see,
but what the trees communicate with me,
giving the work depth and life.
這樣的準備讓我能傳達的不只是所見之景，
更是樹木與我交流的能量，
使作品充滿層次與生命力。

Integration of Self

整合自我

In 2025, I began merging Fashion Tricia and Spiritual Tricia,

bringing both style and sacred energy into my art.

I started incorporating accessories and crystals, adding a three-dimensional quality to my work.

I even embraced a divination-based approach,

tossing crystals and pearls onto a piece and letting the divine guide their placement.

Through this process I wove my multiple identities together:

they are no longer at odds with one another

but combine to make me a unique human being,

a special flavor only I can convey.

2025 年，我開始將時尚的 Tricia 與靈性的 Tricia 融合，

將風格與神聖能量同時帶入藝術創作。

我開始使用配件與水晶，讓作品呈現立體感，

甚至運用占卜般的創作方式，隨意將水晶與珍珠投入作品中，

由神聖引導它們在畫布上的位置。

透過這個過程，我把多重身份交織在一起：

它們不再彼此對立，而是合而為一，

讓我成為一個獨特的人，

散發出只有我能傳達的特殊風味。

This is how I channel inspirations into art.

Thank you so much for reading.

I hope this gave you a clearer sense of my process and the places I travel inside to create.

If you enjoyed this piece and want more behind-the-scenes stories, process videos, and early previews of new work, please sign up for my newsletter.

You can also check out my current and upcoming shows on my exhibition page.

Sending love and creativity to you.

這就是我把靈感轉化為藝術的方式。

非常感謝你的閱讀，希望你更理解我的創作過程，

以及我如何在內在旅行中捕捉影像與能量。

如果你喜歡這篇文章，想看更多幕後故事、創作過程影片與作品預覽，

歡迎訂閱我的電子報。

同時也可以前往我的展覽頁面查看目前與即將展出的作品。

Love letter club

i AM

If you want to experience my artworks in person, come to my exhibition and immerse yourself in a full somatic experience! See the textures, colors, and energy up close, and feel how the work interacts with your body and senses.

如果你想親身感受我的作品，歡迎來到我的展覽，享受完整的身體感知體驗！近距離觀察作品的質感、色彩與能量，感受它們如何與你的身體與感官互動。

I'm in

I finally can officially invite you to the unveiling of my solo exhibition《i AM》

and a sacred Sologamy Wedding ceremony 👰

October 5th will be a day of art, self-devotion, and celebration.

✨ 2:00–4:00pm | Exhibition Opening & Art Tour

This time is ideal for art collectors and those interested in a deeper conversation around the work.
🎉 4:00–7:00pm | Sologamy Wedding Ceremony & Celebration with DJ music

A heartful gathering with friends, music, and ritual — all are welcome!

To help us prepare, please select your preferred arrival time in the registration form:

👉https://shorturl.at/SBIhd

💬 Join the Facebook event page to get the latest updates, start conversations, and feel the vibe in advance!

👉 https://www.facebook.com/share/1AotrqwLDQ/

📍 Venue:

2 Gather 藝起吧

No. 181 Chiaxi Road, Zhongli District, Taoyuan City (15 min walk from HSR)

https://maps.app.goo.gl/28txzsd2YwkGJFfGA

****REGISTRATION WILL BE COMPLETE ONLY AFTER FILLING OUT THE FORM****

I'll be there

終於可以正式邀請您參加我的個展《i AM》開幕茶會！並見證一場獻給自己的靈性婚禮 👰

10月5日，邀您一同參與這場結合藝術、承諾與慶祝的日子。

✨ 下午 2:00–4:00 ｜個展開幕與藝術導覽

建議藏家與希望深入了解作品的貴賓此時段前來。
🎉 下午 4:00–7:00 ｜獨身婚禮儀式與 DJ 派對
儀式後將是更自由的派對時光，歡迎親友們共襄盛舉！

為了更好安排與人數分流，請在報名表中選擇您的抵達時間：
請在報名表中選擇您希望的抵達時間：
👉https://shorturl.at/SBIhd

💬 也歡迎加入 Facebook 活動頁面，獲得最新消息、提前感受現場氛圍，
與其他來賓互動交流！
👉 https://www.facebook.com/share/1AotrqwLDQ/

📍 地點: