「三」同時是最穩定也是最不穩定的結構。運用三個「稜」和三個 「面」組成最不穩定的關係，讓器型與火焰對話，從靜態到動態，進 而達到一種動態的穩定。火的流動呈現在「面」的轉折，處處都有火 的細微變化；「稜」的阻擋似乎不留火的蹤跡，實則展現了土火藝術 的極致。

「三稜罐」系列在一次與窯火的對話中，凝結出「釉母」的新方向。

“Three” is the most stable and unstable structure at the same time. Using three “edges” and three “faces” make a most unstable relationship in the composition; it makes a ‑flame-like dialogue between object and type, from static to dynamic, thus achieving a kind of dynamic stability. The fire-flow appears in the “face” – a turning point; everywhere shows the fi­re, subtle changes. The “edges” as barrier s appear to leave no traces of fi­re, demonstrating the art of extreme heat on clay.

“The Triple-Ridged Pot” series is in the midst of a dialogue with the fi­re in the kiln, setting out a new direction for “Mother Glaze”.