Luke的創作行徑是游走式的，場景和事件是他每日視覺和創作思維背後的關注點，這其實是非常日常生活的體驗。若果說藝術源自生活，那Luke是極罕有可以把藝術回歸生活去實踐的藝術家。他的視線永遠是從下而上的，所以很能透析勞工階層的工作壓力。

製作掃把、比葉劍、到工廠認識工友、跟詹叔學做掃把、給玲玲頒「車衣勝手」獎給、做紙玩具、與學員工友一起玩和盲人工廠搞場墟市，均是很「土炮」的手藝製作，不單是提供「做掃把」的玩意，反過來透過這些製作過程發現參與者個人「好好玩」的角度和方法。

駐留期間他到訪了區內的鄰里——盲人工廠。他探究了盲人工廠每件生產的物件和過程，關心工廠暫時搬遷的影響，發展廢棄物料的循環經濟圈，關注在社區無人注意的勞力密集生產。在這正在湮沒於歷史中的社群空間，如何用視覺書寫這不可視的歷史，將是我們的另一新方向。

Luke's creative behavior is nomadic. Scenes and events are the focuses behind his daily perceptive and creative thinking, which is in fact an everyday experience. If art is derived from daily life, then Luke is a rare artist who can bring art back to life. As his views are always from bottom to top, he can analyze the working pressure of the working class clearly.

Making brooms, competing swords, meeting workers at the factory, learning to make a broom with Uncle Chim, presenting a sewingaward to Ling Ling, making paper toys, having fun and taking part in flea markets with factory workers are all very local. Through these production processes, he not only provides "brooms", but in turn discovers the angles and methods of having "good fun" with participants.

During his stay he visited a neighbour in the area, the blind factory. He explored each product produced by the blind factory and its process. He concerned about the impact of the temporary relocation of the factory, started to develop a circular economy of waste materials, and cared about labor-intensive production that was unnoticed in the community. As the community space is disappearing in history, how to visually write this invisible history will be another new direction for us.