My work is eager to imagine and reshape what is known or unknown. I’m not using images as a reference, because this will make the subjectivity take the initiative in the painting. For me, the motivation of creation depends more on subconscious behavior. It can be a certain detail in the image, a certain posture of a character, a certain sentence in a paragraph, is a moment that is not fully recorded, and the best way to record them is to summarize them in phrases. When I see these phrases, they will gradually connect, improvise the movement of forming their own rhythm, and reappear in the form of poetry. The creation at this time is based on strong personal emotion and absolute freedom, and a self-reflection created with a strong desire and longing for something. I think painting is a poetic self-filling process. The final image presented on the canvas does not necessarily need to be absolutely clear, it can be interpreted or even the opposite. It can be a desirable incompleteness, a continuous presentation. This process is also a strong expression of melancholic emotion, a constant feeling of absence, and a desire for presence.

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我的创作是渴望对已知或未知的事物的一种幻想以及重塑。这种重塑的过程是对已经失去的事物的怀念与渴望。对于渴望却没有拥有的，也是失去的曾经的一部分。 我不会利用图像作为主要参考，因为这样会使主观在绘画中占据主动，对我来说创作的动机更取决于潜意识的行为，创作的对象也更为渺小，它可以是图像中的某个细节，人物的某个姿态，段落之中某句话，是不被完全记录的瞬间，而记录他们最好的方式是用短语概括。当我看到这些短语的时候，它们会逐渐的联系起来，即兴的形成自己韵律的运动，形成了精炼的语言或者诗句。这时候的创作是基于富有强烈个人情感与绝对自由下的，以对某件事物的强烈渴望与思念下创造的自我遐想。我认为绘画就是具有诗意的自我填补缺失的过程。画布上呈现的最终图像并不一定需要绝对清晰，是可以被解读甚至是相反的，它可以是令人向往的不完整，一种持续的呈现。 在最近的创作中，我将音乐和书写密切联系起来，这是构建抽象作品两个重要的元素。从精炼词语的积累到后来逐渐将视觉灵感转换成破碎的文字并以抽象的书写作为绘画的出发点；同时配合音乐作为非视觉记忆，为创作提供了一条引导路径，以扩大在潜意识行为下参与画布的潜力。这种过程也是一种忧郁情感的强烈表达。