「我們是如何存在於時間之中呢?」這個問題縈繞在我的腦中已經好幾年了。「在無垠之內無處為家」加斯東·巴舍拉 寫到，但是眾多可能性中的時間是如此的廣袤，比利時藝術家 Germain Canon - 甘捷曼說道。 是故，身為一位建築師，他設計空間。他使用空間界線在時間中創造出安全通道，他為夜幕設計了臥房，為了早晨設計了日光通透的廚房，也為了盛夏或雨天設計了門廊，而在這些限界之中人們執行各種複雜的機理動作。身為一個作畫者，他捨去了多餘的念想而專注於控制時間，藉由停擺自己的動作而催生，並試著純然降下黑線於空白去註記下那個瞬間。
當然了，台灣的地殼不僅震動了樓房，也震動了畫布，地震就如同對於時間之能耐的永恆警鐘，那未知的能耐，漠然的隱沒於我們建造的牆板之後。哲學家提摩西·莫頓 近期說道「正是那對於災難是否快要發生了的懷疑顯示災難已然發生。」他著迷於地震，以及那些足以窺視更加恢弘時間維度的地方，日常的限界中正隱藏了不可能的地質景貌，他卻僅能在邊緣窺見，還有那些在永無息日的重建中的中國城市中被遺忘的風貌，那些並列在澎湖沿岸的質樸而單純的海洋，那些地球中攫取埋葬記憶的暗物質，那個隱沒的廣島市，那個深埋地底的十萬年半衰核廢貯存場，最長的人造建築，然這處 (亦然) 不適人居。
藝術作品「無人建築」是由一本書與一系散文和繪畫創作的集合，也是一個不斷進行對於那些鮮為人知事物的追求。
"How can we inhabit time?" This question has been in my mind for many years. "No one is at home, inside infinity", Bachelard wrote. But time is immense in uncertain possibilities, the Belgium artist Germain Canon said.
So, as an architect, he designs places. He uses spatial boundaries to create safe passages in time: for the time of the night, He designs a bedroom. For the early morning, a sunlit kitchen. For the hot and rainy days, a porch. Within those limits, people can deploy the complex movement of their lives. As a painter, he abandons himself to further vain but essential attempts of time control, by provoking the freezing of his own movements. Marking them before they fade, by the radical act of leaving a black trace on a white surface.
But in Taiwan of course, the ground moves. Shaking both canvases and buildings. Earthquakes are the perpetual reminder of time's most frightful power, the power of uncertainty. It is here, always, looming behind the walls we've built. As philosopher Timothy Morton recently wrote: "The very feeling of wondering whether the catastrophe will begin soon is a symptom of its already having begun".
He became obsessed with earthquakes, and other places where unfolds the greater aspect of time. Impossible landscapes are hidden behind the limits of everyday life. He's seen them, but only could stand at their border: there are earthquakes, but also, the forgotten layers of Chinese cities in perpetual reconstruction, the forgetful ocean alongside the Lanyu beaches, the dark matter of the earth absorbing the memory those we have buried, the invisible Hiroshima, or the 100 000 years Finish underground nuclear repository, the longest of manmade places - through this one, too, is not for us to live in.
The artwork "The architecture for no one", a book and a series of exhibitions combining prose and paintings, is an ongoing attempt to look into those places obscure matter.