作品最初的發想，來自開車時反覆聽見的房地產廣告。建商透過廣告不斷編織擁有的美夢，將置產描述為一種投資與通往成功的方法，彷彿擁有房產便能獲得利益、地位，以及支配生活的權利與力量。

作品取名為《乘上城 甲天下》，影射臺灣建案常見的命名方式，營造出高人一等、坐擁天下的想像，不斷慫恿人們購屋置產，但在這些美好承諾背後，房價、都市更新、政商關係與金錢價值等無形力量，持續左右著人們的選擇。「有土斯有財」的傳統觀念也持續深入人心，使人們在日常生活中不斷被灌輸對土地與房產的渴望。

對許多年輕人而言，想要擁有一處安身之所，卻必須以大半輩子的負債作為代價。房地產廣告所販售的，看似是一個理想的家，實際上卻是一份長達三十年以上的契約，入住之後，隨之而來的就是無止境的煩惱與沉重壓力。

作品以仿擬房地產廣告的音效與話術鋪陳，並透過巨型機器人的形象，將隱藏於房地產市場背後的權力結構具象化。

The initial idea for the work came from the real estate advertisements repeatedly heard while driving. Through these advertisements, property developers continually weave dreams of ownership, presenting real estate as both an investment and a path to success—as though owning property could bring profit, status, and the power to take control of one’s life.

The work is titled Rise Above the City, First Under Heaven, alluding to the grandiose names commonly given to real estate developments in Taiwan. Such names evoke the fantasy of standing above others and possessing all under heaven, constantly encouraging people to purchase property. Behind these promises, however, are invisible forces—including housing prices, urban renewal, political and business interests, and the power of money—that continue to shape people’s choices. The traditional belief that “land brings wealth” also remains deeply rooted, reinforcing the desire for land and property throughout everyday life.

For many young people, securing a place to call home comes at the cost of spending much of their lives in debt. What real estate advertisements appear to sell is an ideal home, but what they actually offer is a financial commitment lasting more than thirty years. Once people move in, endless worries and immense pressure often follow.

The work unfolds through sound effects and promotional language that mimic real estate advertising. A colossal robot gives physical form to the hidden power structures operating behind the property market.

創作自述
讓山只是山，有也等於沒有
人的存在建於土地之上，不管是何種空間形式，總是被不停被定義，土地＝房地產＝家＝地盤＝財富＝BOT＝國家主義＝通路＝店租＝資源＝天下
土地對人來說有無限的定義與用途，
而無法的定義的動植物就在人的繁忙空檔中，慢慢的繁衍，
流浪狗最初不是流浪者，只因我們改變了其生存方式與本能。
今年難得因為一則停止國光石化興建的新聞，感動一整天，發現了良善的可能，
年近三十的我，有了成家立業的責任，更驚覺土地的遊戲，多元到難以想像，卻發現，山為何不能只是山，空地就一定要BOT，一定要活化？
或許放開所有權與定義，才能擁有真的定義。
希望山只是山、隱於山、養於山、感於山，安靜的被大地擁抱，找到良心的歸宿。
面對看不見的敵人，卻一直存在的意識，是我創作的初衷。

Artist Statement
Let the Mountain Be a Mountain—There, as Though It Were Not

Land gives human existence a place in which to take root. Yet because land is imagined as infinitely usable, it is continually redefined through competing notions of space:

Land = Real Estate = Home = Territory = BOT Development = Nationalism = Distribution Networks = Commercial Rent = Resources = The World.

Animals and plants have no power to define themselves within these systems. They can only follow their nature and continue to reproduce, even as they are ignored and forgotten by human beings preoccupied with constructing a world of ideas. A dog living on the street would never have become “stray” had we not disrupted its instinctive way of surviving.

Earlier this year, I was deeply moved by the news that the Kuokuang Petrochemical Project had been halted. For an entire day, I was filled with joy at this glimpse of humanity’s capacity for goodness.

As I approach my thirties, I have begun to recognize my responsibility to establish a family of my own. At the same time, I am shocked by what humanity has already done to the earth—and by how much more it remains capable of doing. The many forms these interventions can take exceed anything I could have imagined. I cannot help but wonder: Why can’t a mountain simply remain a mountain? Why must vacant land be subjected to Build–Operate–Transfer (BOT) development? Why must it be “revitalized” at all?

Perhaps only by letting go of our need to define land as property and possession can we truly possess it.

I still hope that the mountain can simply remain a mountain—hidden among mountains, nurtured by them, and existing as part of them.

Then the land may quietly embrace us.

In this work, I appropriate the language and form of real estate advertising and use the commodity fetishism embodied by a colossal robot to explore the possibilities of digital imagery. At its core, the work examines the invisible struggles for power that shape our living spaces.