在中國生活的期間，偶然遇見一群採集自然灰的夥伴，於是我第一次嘗試草木灰釉，之後便著迷於灰釉神秘的、未知的純粹。
當時我走進森林裡、田野間搜集掉落的木材、樹葉、竹葉、稻草等材料，滿身泥濘地將它們一捆一捆的抱回工作室，我們將它們燒製成灰燼、過篩、加入基礎配方調製成釉藥，上釉完的器皿最後則以高溫還原燒成。
那些原本被視為棄物的，仿佛透過這些陶器再次以絢麗的釉彩重生，每一枝木、一片葉的來源始終無從知曉，而燒製後，我再也無法複製出一模一樣的器皿。
我也不是毫無期待的，只是當我將對顏色的掌控歸還自然，結局也因此越趨透明。
我開始理解它們雖由我而生，卻不曾為我有。
During my time in Jingdezhen, I met a group of ceramists who collected natural materials and transformed them into colors. It was my first experiment with ash glazes, and I've been captivated by the mystique of natural colors ever since.
We ventured into forests and fields, gathering fallen wood, leaves, bamboo, and straw, among other materials. Covered in mud, I brought these treasures found in woods back to my studio. They were transformed into ash, blended into glazes, and then fired at high temperatures.
What were once discarded materials were reborn through ceramics, adorned with unique glazes. The origins of each piece's wood or leaf remained a mystery, impossible to replicate.
I surrendered my control of color to nature, revealing a more transparent outcome.
I came to realize that while they sprang from my hands, they were never truly mine.