Drapery Studies series originate from drapery commonly seen in Graeco-Roman sculptures. Through this simple form, it explores the basic matters in traditional western arts, such as mass, volume, texture, and representation, and combines these with the idealist, poetic space concepts in Chinese culture.

Drapery Studies series is produced in a way identical with the process of making traditional oil paintings. Based on the material system of oil paintings, the linen was shaped randomly into draperies and wrinkles and was coated with multiple layers of rabbit skin glue and gesso to secure its form. After, the pigments or oil color were applied on the material. Differ from general paintings, Drapery Studies forsake pictures, which are deemed the core of paintings, and follows the natural patterns and microscopic imagination to develop the scenery. Its art form is in between painting, sculpture, and installation art, and it is an experiment that integrates the essence of Chinese Shan Shui and western art forms.

Drapery Studies series deals with matters of materials, techniques, art history, and cultural traditions those have been gradually missing in the concept-oriented contemporary art field. Drapery Studies

布紋習作發想自希臘羅馬雕塑常見的衣紋（Drapery），借此簡單的形式，探討西方藝術傳統中的體感、量感、材質與再現等基本命題，連結東方文化中唯心而詩意的空間觀念。

製作方式與傳統油畫無異，引用其材料系統，從麻布開始隨機拉出布紋皺摺，塗布多層兔皮膠及Gesso固定其造型，再上油畫顏料或色粉。與一般繪畫最大的差異在於，捨棄普遍認為繪畫核心的圖像（picture），順應自然產生的隨機紋理，微觀想像，逐步發展其空間意境，介於繪畫、雕塑與裝置之間，是山水精神與西方藝術形式的整合實驗。

布紋習作系列所處理的材料、技法、美術史及文化傳統等，正是觀念主導的當代藝術所逐漸遺忘的一切。