[ visual phenomenon。視 閾 現 象 ]
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一只鏡框不僅具備矯正視力的功能，也是建立個人特質的利器。它讓我們清楚地、正確地觀看這個世界，也同時具備「看」與「被看」的主被動流變。
無論你是否察覺，鏡框也為大部分的人承接著從觀察到思維的途徑。與時俱進的科技裝置悄然在你我生活中逐漸開展滲透，人類對無機物產生難以戒斷的依賴，細碎而片面的資訊充斥於可視領域，無差別地將你我包覆在不知何時開始習以為常的模式裡， 難以分辨究竟是解放，抑或是禁錮。
植物藝術創作者廖浩哲拋開形式上的和諧，運用植物、羽毛、皮革、塑膠網、人造毛皮、金屬等質地迥異的材料，構成一個高三點八米、寬兩米的大型異質聚合物，模擬大量未經消化的信息增生、黏附、變形與消亡的封閉週期。互相揉合沾附的媒材共存於同一個棲息地，並未彰顯或削弱彼此的特質，進而開啟了洞察、移情、思辨等，這些從觀者的角度透過「觀看」而催生的緊密鏈結。
[視閾現象] 不僅只是著重在美感的呈現，更被賦予了真實的意義， 廖浩哲將自然的場景與人造的媒材帶進室內，借助建築內部空間的線與面，形塑解讀其延伸出的遠近、內外、明暗、高低，呼應鏡框之於感官的中介屬性，闡明無論如何溢流交雜的資訊，終將臣服於自我意識的表述。
Spectacles are both vision aid and facial ornament, they help us see the world clearly, correctly, and allow us to express our personality. Conspicuously or subtly, bespectacled faces ask the world to see them in a certain way by telling the world what they see.
People seek knowledge through spectacles, sometimes without even realizing it. Liberating, or imprisoning, modern technology makes us omniscient, develops relationship and increases collective conscience, but it sometimes pulls us away from the real world easily and fundamentally changes who we are.
Botanical artist Hao Jhe Liao tailors his visual vocabulary to construct a more holistic experience of the natural world. Using plants, flowers, feathers, leather, and other materials to create an accessorized installation, Hao Jhe Liao expects the viewers to reflect upon our own relationship, both with one another and our surrounds in the fast paced life filled with massive information which we obtained through spectacles.
Emphasizing the expression of ideas over finished an aesthetically pleasing art project, Hao Jhe Liao observes the wonder of nature, brings the outside world, in, just like how spectacles transfer individual units of information we gathered to form and impart a unique, complex mental schema.
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