瀰力村男在高雄市立美術館「市民畫廊」個展時，筆者序文：「神秘遼闊的翅」，當時欣賞作品，感覺一股神秘幽遠的力量醞釀。作品大巨幅，畫布或木板居多。聰明、精幹，點子又多，所以從事任何行業，無論北、中、南都吃得開，立足天下。事業之餘對於水墨創作更是不遺餘力，靈巧的他，舉凡技巧一眼滑過便領會有足，所以處理作品時，總會讓人驚喜，把握的十分確定。
　　之前，他慣用設計性處理空間、形式，如組合、對比、線條分割畫面，點、線的切疊堆置，運用重整組合，反覆的形式使之空間變化。近期作品，2008年之後的繪畫，仍然移用且更精準撩撥出「意象」。媒材上的選擇，繼續反叛傳統水墨的鮮明旗幟及其的烙印，「增厚劑」的使用，悠然遊戲不變其質，更加靈活運用自如，而變化無窮。
　　台灣水墨繪畫的創作發展，20年來，除了內涵內容上有些變革興替之外，對形式空間及媒材的拓展借用，總覺得滯礙難行，總是脫離不了筆墨的既限觀念，剝落不了因循的形制，遑論空間錄影類裝置表現的水墨，容不下傳統觀念水墨的認證，以至於扼殺新表現新生代水墨觀念於現實環境中。畫布基底多媒材的風格，也只能在南部高雄這塊人稱熱帶性氣候黏稠地帶，苟延殘存的獨撐門面，而勇度關山，展翅飛翔有幾何人，瀰力村男便是難能可貴。
　　瀰力村男的豪邁與率性，豐富而浪漫的生命色彩彰顯於作品，使其作品散放出豐沛的潛能。「後院系列」，以故居的鄉愁，荖濃溪畔現象時節做為發揮主題，內容簡單而形式繁複，結構單純而空間廣遠，色彩簡易而深具變化，誠如易經所言：簡易、變易、不易之大道哲理，真所謂大彩稀色。
　　具象的表現中，隱約縝密，如幻似夢，或時間瞬間的衍演，生息之際，又有讚嘆的美麗。而這美麗的哀愁伴著對現代水墨的執著與格外情感，凝塑瀰力村男隱現的靈光，從枯樹，從芒草間，從庭院的景點，從流沙，從荖濃溪澗流逝的水聲中，漫漫的浸漬在你我心中，無限幽深，這種生命交融，除非筆墨深厚的藝術涵養難以掌握。在傳統精神潛移默化之中，所經歷形式的蛻變與衍生，時代性與變革性勢必存在，然而其關鍵乃在觀念的移動。
　　觀念的移動若成為行為的實踐，而其承受壓力之重，若無毅力，無人能擋，無能成就。無論是側重水墨語言符號造形方式，媒材乃至破壞顛覆傳統美學價值的主體經驗，廣泛結合新的工具媒材或是媒材科技媒體已成為未來的趨勢。不論媒材的新舊多元與否，作品主體意義的最終取決關鍵，永遠是植基於創作者的人文厚度與其內在的精神底蘊。因此，在進入革創的過程中，除了觀念移動，媒材、技巧與實驗，人文的縱橫層層相關。這種多重繁複的經緯，瀰力村男的作品裡，確實裂斷傳統的形式，而注入了水墨畫一種可以轉折的柔性與勒度，成為另一種符號。
　　觀其畫作，散發出神傷幽遠無明寂寥，又隱含某種神祕悲愴，回望無風無雨也無晴的感覺，有風聲、楚詞的低吟，胸中懷抱土地的惜愛，筆底撫慰裂痕的傷痛。總之，瀰力村男近期的作品，在簡潔中復加以細緻綿密的情愫表現，滲揉了人文的肌理，在不僅僅只是作為筆墨的筆觸中有了沉澱的發想，也驗證了「減法洗滌」技法的可塑性與變易性。作品空間流動的穿透韻勢，增添了氣派，這種氣派的映現就是瀰力村男努力創作的個人語彙與符號，而時間給了證詞。
　　瀰力村男個展前，細味品讀如此精彩的作品，感覺如同他擴張的生命力，正四面八方漫延開來…。　
　　

　　When Mi-li-tsun held a solo exhibition in “Citizen Gallery” of Kaohsiung Museum of Fine Arts, the writer prefaced “Mysterious and Vast Wings” for his works as mystical and deep force was fermented in my mind while appreciating these works. Most of huge works are made on canvas or boards. Intelligence and capability with many ideas as a person is, he engages in any industry to create advantages everywhere. He always spares no effort in ink painting creation other than his careers. He is skillful so as to grasp the essence at first sight. The works are always surprising that he can accurately seize the points to deal with his works.
　　He customarily design the space and form, such as composition, contrast and division of picture with lines, cut and stack of dots and lines to reform and combine, changing the space with repeated form. The skill on his recent works was still carried over into the paintings after 2008 to more precisely arise the “image”. The choice of media material continued to hold a brightly-colored banner and leave an impression on multi-life to rebel traditional ink painting. The use of “intensifier” leisurely plays with the same features, and more skillfully handles with countless changes.
　　In recent 20 years, the creativity and progress of Taiwan’s ink painting is always found obstructed and difficult to work on pattern space and borrow from the expansion of media material other than some changes in the contents, which is restricted to the existing painting concept; since the same shape is hard to remove, not to mention ink painting presented by the installation of space photography may not fit into traditional ink painting so as to stifle new expression of such a new generation ink painting ideas in real environment. Multi-media style on the basement of canvas may only be seen in southern Kaohsiung where is called the sticky zone of tropical climate. How many persons could be the brave one to struggle for the ideal? Mi-li-tsun Nan is rare and commendable one.
　　Mi-li-tsun Nan’s heroic and irrepressible personality highlights his works with rich and romantic colors of life, emitting abundant potentiality. The “Backyard Series” based on homesickness during each season on the side of the Laonong River develops simple contents but complicated forms, pure structure but boundless space, brief but changeable colors, showing the philosophic thoughts “Simple Change, Change and No Change” as said in the I Ching; it’s really the so-called “a good painting made of fewer colors”
　　Concrete figurative is performed as vague and deliberate, veritable and illusion as instant change of time, the beauty being highly praised during survival and reproduction. A beautiful sadness accompanied by persistent in the modern ink painting with extraordinary emotion deeply models Nan’s inspiration. The scenic spots from dry tree, silver grass and courtyard, and drift sand and the passage of water sound from the Laonong River are immersed in our minds for a long time; it’s hard to allow life to interact with such a deep and quiet sense unless one has profound artistic cultivation for the paintings. Modernity and transformation definitely exists in what metamorphosis and derivative of the form experienced in a silent transforming influence of traditional spirit, but the key is the movement of the concept.
　　If the movement of the concept becomes the practice of the behavior, those under stress may not achieve great success without perseverance. Whatever the shaping method focused on ink painting language sign, media material and subjective experience that overturns traditional aesthetic value, they extensively combine new tool or science and technology media material to become a future trend. Whether new, old or multiple medial material or not, the final key of subjective meaning for the works always depends on the thickness of humanities and the inner spirit base. Therefore, freely humanity correlates layer by layer in the process of reformation and creativity other than concept movement, medial material, skill and experiment. Mi-li-tsun Nan’s works actually break traditional form in such a complicated density, injecting flexibility and tenacity that could be transited in the ink painting to become another symbol.
　　When we appreciate his works, sadness, remoteness and lonesome are emitting with some kind of mysterious sorrow implied. Looking back with the feeling of no clouds, no rains and no clear skies is like muffled sound of the wind and folk song in Chu region, embracing the love of the land with paintings to comfort the pains for the rift. In general, Nan’s recent works express delicate and soft feelings in the simplicity, permeating the texture of humanity to not only produce concept deposited in brushwork of the paintings, but also verify plasticity and changeability of the skill of “subtraction of washing”. The rhythm potential penetrated in spatial flow of the works increases the style, which reflects Mi-li-tsun Nan’s effort in creating his personal vocabularies and symbols and the time give testimony.
　　Carefully appreciating Mi-li-tsun Nan’s works prior to his solo exhibition feels as if the expansion of his vitality is spreading from all directions…