Born in Taipei, 1953, she graduated from Fine Arts Department of Chinese Culture University, 1974, pursued and acquired her master degree in graphical design at Tama Art University, Tokyo, 1978. Lai was consecutively awarded with “Modern Sculpture Exhibition” and “Contemporary Trends in Chinese Art Exhibition” held by Taipei Fine Arts Museum. By 1986, Lai established Studio of Contemporary Arts (SOCA), which is the earliest pioneer of alternative space in Taiwan, and promoted artistic expression of installation and experimentalism. As an Artist-in-Residence, Lai has visited and stayed in places such as New York, San Francisco, Switzerland, France, and Australia. At present, it is Taipei and Doulan, Taitung, where she mostly resides and creates her works.
Between 1977 and 1982, Lai’s primary form of expression was abstract painting. This is the same period of time when she discovered issues of spatial level derived at the turning edge of canvas. Such caused her to explore the possibility at the frontier of painting, via array of planes in one color respectively, and experiment in geometric sculpture and colors, from 1982 to 1984. Affected by Lin Show-Yu in 1985, Lai started to work under the theme of “existence and transformation,” applying transparent acrylics, wood, and pigments as media as to explore on the concepts such as Minimalism, structure, and material. Ever since the late 1980s, Lai has shifted her focus back onto natural material such as wood, stone, and soil, with which she inspected the local humanity characteristics in Taiwan, looking for sources for her creativity to nourish on, and self-examining within her inner existence. This is the period when she created a series of works with “heart” as their mutual theme: Heart Chamber, Heart Vehicle, Heart Vessel, Heart Field, Heart Field II, Heart Fire, Heart Water, and Heart Aphrodisiac.
From late 1990s, Lai devoted herself into the work of public art. Constantly set foot on every corner of this island, Lai became to have in-depth understanding of the motherland where she stood. Around 2000, Lai combined fluidness of her developed material with the transparency and glamorousness of acrylic, transforming the special media as a platform conveying artistic expression of her own. With the Youth Wonderland series, Lai expressed her feelings toward the homeland, while it is beyond obvious that by the name of the series, it refers to how wonderfully beautiful this island is, and how wonderfully pleasant the people on it behave with one another. Within the series, Lai has developed her own point of view on marine aesthetic, exposing her unique angle of inspection upon the island.
Over the years, Lai has been exceptionally sensitive toward space and environment. From a rising young artist successively officially awarded in the 1980s, to a practitioner who explored Taiwan and her inner existence in the 1990s, Lai achieves another peak of her artistic career with her delicate female perspective, innovative artistic language, and more importantly, her vigorous character. Hence Lai’s lifelong creation process has also become an important miniature as to study the historical development of art in Taiwan.