木材、沙子、帆布、數位影像輸出，840 x 480 cm，2022
「淡海」曾指淡水地區沙崙一帶，後來因為政策的關係，在大庄埔、崁頂地區展開一連串的土地徵收、填土造陸，將原本這裡的景象給移除，再把都市的景觀移到淡水，形成今日所見的「淡海新市鎮」。
身為淡海新市鎮新居民的我而言，對於「淡海」的認知是跟隨著政策被位移的，而這樣的搬動，不只是地形、地貌的位移，更多的是人文、歷史的遞變。所以這次的行動，我將沙崙地區的沙子位移至公司田溪程氏古厝的埕；這樣的作法看起來非常徒勞，甚至是沙子來到埕的時候，其實它某部分也霸佔了原本在這個地方曬榖的位置與功能性，我想藉由這樣的行動去回應地理上的位移與填補。
作品以繪畫的形式思考，在埕內釘框、繃布、填沙，並以「淡海色」為名，意圖在定義某種色彩名稱的指向，這樣的定義實際上也同時在終結對於色彩的想像可能；而長板凳上展示某部分被挖空的沙崙海景畫面，與埕內曝曬的沙子彼此對照，透過沙盤、影像兩個平面的並置，去反思那個被挖空的地方該填入什麼，以及淡海新市鎮這個政策，位移的除了地形、地貌外，是不是某部分也牽動了人、歷史與集體認知。
“Danhai” once referred to the region in Shalun, Tamsui, that underwent land expropriation and reclamation in the Dazhuangpu and Kanding areas due to government policies. As a result, the original landscape has been removed and replaced with an urbanscape that is now known as “Danhai New Town.”
As a resident of Danhai New Town, my understanding of Danhai has shifted with government policies. The shift exists in changes in geography, topography, and culture and history. In this project, I move some sand from the Shalun area to the courtyard of the Cheng Family Abode by the Gongsitian River. This action may seem in vain, and when the sand arrives in the courtyard, it occupies spaces used for grain-sunning; nevertheless, I use this action to respond to the changes in geography.
This work approaches the subject matter through the concept of painting. I set up a frame and bandages in the courtyard and filled the space with sand. By naming the work The Color of Danhai, I reference the idea of color, which simultaneously terminates the possibility of imagining color. Displayed on the bench is a section of the dug-out beach of Shalun, which contrasts the sand placed within the courtyard. Through the parallel placement of the sand plate and image, the work inspires viewers to reflect on what should be used to fill up the hollow space that has been dug out and whether Danhai New Town has not only altered geography and topography but also affected individual, historical, and collective cognition.
2023全國美展｜綜合媒材類（銀牌獎）｜評審感言（高森信男）
社區及地方文史探勘計畫近年已成計畫型創作的主流題材，但多數作品多以過度的影像及文獻作為計畫轉譯的媒介。藝術家尤昱翔〈淡海色〉一作的可貴之處，在於其善於透過物質性的裝置和取自現場的現成物，來對於新市鎮的造鎮計畫進行冷靜且俐落的批判。
木材、沙子、帆布、數位影像輸出、單頻道錄像，尺寸依展場而定，2023
