我跟李昆霖第一次認識，是李昆霖參加台南市跟美國波士頓城市，兩個城市的那個藝術交 流——「雙城記」。那一年換台南市舉辦，有一個晚上就接待這些藝術家到我東門美術館。因為 我們後面東門園是一個老式、非常古典的、充滿藝文東方藝文氣息的空間，所以台南市文化局就 選擇，到東門美術館的後院，接待這些藝術家。也因為這樣，我才跟李昆霖正式的認識，然後才 漸漸變成那個好朋友，也漸漸變成他的戰友。我們是...我是畫廊嘛，他是藝術家，我們就一起合 作，從頭到尾大概就是十年。
我下班通常就是晚上十點左右，李昆霖就會邀約我到他的工作室去喝啤酒。然後，我們喝啤酒當中，當然主要就是討論那個藝術的那個市場現狀，以及如何推廣辦好展覽，把藝術家介紹出 去。不然就去登山呼吸新鮮空氣，把喝的酒氣排掉。對了對了就是說，有一次他也是車禍，那個 整個右手完全都沒有辦法舉起來、沒有辦法動。我們就常常，我就開車載他去爬山。在爬山當中， 我就親自看到他用他的左手抓他的右手到那個樹幹上，他的右手就沿著樹幹靠著右手的手指攀著 樹幹，這樣練習那個由下往上移動，很神奇的一個禮拜以後就好了，這件事讓我覺得非常深刻。
我們一起合作、辦展覽，也共同出了四本畫冊。東門美術館在陽明山中山樓前教師中心門口對面的巷子裡面，在二〇〇五年有成立一個草山東門會館。這個會館，以前是吳天章的工作室， 在吳天章搬離半年以後，李昆霖就介紹我去承租那個地方，讓我到了台北有一個據點。可以辦個 展覽，也可以約客戶來那邊談藝術、交易作品、喝茶喝酒。我們常常就會我跟我的家人，或者是 李昆霖會帶他的太太或女兒上去過夜，一起去泡溫泉、欣賞整個陽明山的風景。那兩三年，事實 上，我也在台北幫他賣了五六十件。對於不管是東門美術館這個畫廊，還是李昆霖這個藝術家， 我們從台南上去短短兩年多有這個成績，算是非常的成功。
我們曾一同去大陸兩次，有一次還到了溫州、到了上海、也到了北京，就去看看著這外面的世界，在二〇〇七年、〇八年的時候。我事後都覺得就是李昆霖在安排，他是一個有謀略、很聰 明的藝術家，我們也合作的非常愉快。他就是個，為人誠實敦厚。基本上他是專注在他的創作上， 他沒有在學校教課，一個很純粹的職業的藝術創作者。
I first met Lee Kuen-Lin when he participated in an activity between Tainan City and Boston: Tale of Two Cities, an art exchange between these two cities. That year it happened in Tainan City. One night, I received these artists onto my Old Licence Art Gallery. Because our East Gate Garden was old-fashioned, classical space full of oriental art. Therefore, the Bureau of Cultural Affairs, Tainan City Government chose to receive these artists in the backyard of my Old Licence Art Gallery. Because of this, I met Lee Kuen-Lin. We gradually became good friends and then we gradually became comrades. We were like, I am a gallery owner and he was an artist. So we worked together. It’s was about 10 years from start to finish. We became quite close, for about five or six years.
When we were together, it was usually after I got off work. I usually got off work about 10 p.m. Lee Kuen-Lin often invited me to his studio to drink beer. When we were drinking beer we discussed the art market situation, how to promote an exhibition and introduce artists. We also went hiking and breathing fresh air, draining the alcohol out. Once he had a car accident. His entire right hand had no way to lifting up. So I drove him to climb the mountain. In the middle of climbing I saw him grabbing his right hand with his left hand onto a trunk. His right hand grabbed onto the trunk with his fingers. He practiced that movement from bottom to top and then back again. It was amazing what he recovered after a week. This incident made me feel very deeply about this.
We worked together, held exhibitions and I made also four catalogs of him. At the entrance of the teacher center in Zhongshan, Yangmingshan inside the opposite alley I established a Tsháu-suann Licence Art Gallery in 2005. It was Wu Tien-Chang’s studio formerly. After Wu Tien-Chang moved away for half a year Lee Kuen-Lin introduced me to rent the place. Let me had a stronghold in Taipei. That could be used to hold exhibitions, meet clients and talk about art trading, drink tea and beer with them. I often went there with my family. Lee Kuen-Lin also went there with his wife and daughter overnight. They |we went to the hot springs together and appreciated the scenery of the entire Yangming Mountain. In those two or three years, I helped him selling around fifty or sixty art pieces in Taipei for both Lee Kuen-Lin and Licence Art Gallery. It was a great success to have this result in just two years. We visited China together twice.
We went to Wenzhou, Shanghai and Beijing to go and see the world outside. In 2007 and 2008 I thought afterward that they were Lee Kuen-Lin’s arrangement. He was a strategic and intelligent artist. We had a really happy cooperation. He was quite honest and used almost all his energy focusing on creating artworks. He didn’t teach at school at that time. He was a really pure professional artist.