His practice began in sound — years immersed in music production and recording — before a turn in life brought him to photography. Through the influence of artist Chang Po-Chieh, photography gradually became his bridge between life and art; and in searching for a way to turn images into language, he found a resonance between the structure of music and the flow of images.

One question has run through everything since: how does a machine see, and what does it display when there is nothing to see? His solo exhibition Viewfinder dealt with the interior of the camera — the viewfinders of ten classic cameras, dismantled, magnified, and put on display; as the viewer looks at the world through them, the mechanism is looking back. In recent years he has moved the same question from the capture end to the display end: from the viewfinder of the camera to the phosphor screen of the cathode ray tube.

Afterglow, currently in development, uses cathode ray tubes, analog signals and electromagnetic fields to build a ground station that receives no signal.