Tang’s artistic practice originates in his inquiries into his own background as an indigenous inhabitant and pieces of life, and which the exploration is developed and closely related to his own life journey and experiences, as well as to the place where he lives. He is always immersed in the complex, contradictory and struggling present. Through observing the surroundings, he introspects himself and the others, reality and imagination, anyone and anything between the old and new, thereby applying objects, installations, moving images, performances, collages as a comprehensive approach to reveal emotions, thoughts and essences deep down at particular moments among chaos. His subject matters of works deal with growth, inheritance, locality, freedom, urbanization, consumption, nature, politics, norms, existence, etc.
Corners of a wooden table were withered; a metal front door handle was grabbed bright; heavy plaster and paint kept smearing nail holes in galleries disguising as smooth white walls. How many meals did our stomach digest? How many lost souls does our art respond to?
Is it the object, the text, the emotion, or the meal that matters? It is time. If time is a substance,
then the substance being taken care of can be time. It echoes with various people
and things.
鄧氏的創作始於對其原居民背景及生活點滴的追問，繼而發展出緊扣其生命進程與經歷的探索，亦緊扣其生活的地方。他總浸淫於複雜、矛盾、掙扎的當下裡，從身邊及耳聞目睹中反思自身與他人；現實與想像；過去與現在等人事物，繼而運用物件、裝置、移動影像、行為、拼貼等綜合手法在混沌的情境裡呈現某時某刻深埋的情緒、意念及本質性。其作品主題觸及成長、承傳、本土、自由、都市、消費、自然、政治、規範、存在等。
木桌的邊角枯了；正門的金屬把手被磨得油光發亮；厚重的灰與漆不斷塗抹畫廊的孔洞偽裝成光潔的白牆。我們的胃消化了多少頓飯？我們的藝術回應了多少迷踪的靈魂？
關注的是物件、文本、情緒，還是一頓飯？貫穿的是時間。如果時間是一種物質，那麼喜歡的物質便可以是時間，它與萬千人事物起作用。
