"Crossing over 336 Meters" is a work, a work made within a publication.

Its origin lies in a "Artist Spotlight" column project initiated by the Taipei Fine Arts Museum Quarterly "Modern Art" team, and they invited me to participate in their "Museum in a Book" section. I agreed, and the first idea that came to mind was that general publications are mass-produced, multiple-edition items. However, this time, I wanted each "Museum in a Book" in "Modern Art" to be a unique "original work." My concept was to draw a horizontal line across the double-page spread from left to right using a pencil. To achieve this, I naturally couldn't just participate in the layout design and then complete the task according to the usual printing and binding procedures. After joint discussions, the Quarterly team, the printing company, and I devised a working process that included hand-drawing and writing to achieve the goal of "every book being a unique artwork."

How long would this crossing line be? I calculated that the circulation of each issue of "Modern Art' is 800 copies, with a single page width of 21 centimeters. A double-page spread is 42 centimeters. The total length for 800 copies is 33,600 centimeters, which is 336 meters. This is a primary reason why this work is titled "Crossing over 336 Meters." Of course, the term "crossing" also implies traversing, transcending, and reaching the other shore. Furthermore, my "Following the Brush" series has a core metaphor: treating the life journey of a pencil as a person's lifespan, with its strokes, shavings, and remaining stub resembling our lifelong actions and physical body. Each stroke of the brush is like another cycle of birth and death in the human world. Therefore, in terms of "reaching the other shore," naming it "Crossing over 336 Meters" is also fitting.

In addition to drawing the crossing lines, I will also write down the sequence and position of that line within the 336 meters on each double-page spread, for example, 1 of 800, 2 of 800, 3 of 800... and finally 800 of 800. I treated this as a work in terms of mentality, concept, and execution. If the readers of this issue of "Modern Art" are willing, they can unfold and frame this book, and it will be a 100% "original work."

創作自述《橫渡336米》是一件作品，一件做在刊物裡的作品。

它的緣起是台北市立美術館季刊《現代美術》團隊對我有一個「藝術家特寫」的專欄項目，並邀請我參與其中的「書中美術館」單元，我答應並開始構思的第一個念想是，一般刊物一定是量產、複數的製品，但這一次我希望每一本《現代美術》的「書中美術館」都是獨一無二的「原作」。我的構想是用一枝鉛筆自左而右跨頁地畫出一條橫渡的線。要達成此目的，我自然不能只是參與版面的設計，然後依照一般印刷、裝冊等程序完成任務；經過一同的討論，季刊團隊、印刷廠商與我研究出一個包含手繪與書寫的工作程序，以便達到「每一本書，都是獨一無二作品」的目標。

這條橫渡的線會有多長呢？我算了一下，每一期《現代美術》的發行量是800本，單頁的寬是21公分，攤開的跨頁是42公分，800本的總長度是33600公分，336米，這也是為什麼這件作品叫做《橫渡336米》的一個主要原因。當然，「橫渡」一詞，亦有跨越、超越、到彼岸的意思。此外，我的「走筆」系列有一個核心的隱喻，就是把一支筆的生命歷程當做人一期的生命，其筆觸、筆屑與殘剩的末端，猶如我們一生的作為與身軀。每一次的走筆，彷彿是人世間又一次的生死輪迴。所以就「到彼岸」的意思而言，取名《橫渡336米》也是合適的。

除了畫上橫渡的線條，我也會為每一本跨頁寫下該線條位於336米的次序與位置，比如800之1、800之2、800之3……，最後是800之800。我在心態、觀念與做法上都把它當作一件作品來處理的。如果這一期《現代美術》的讀者願意，他/她可以將這本書攤開裝裱起來，這可是百分之百的「原作」。
現代美術期刊