“Landscape,” ink and mixed media on rice paper, 70× 136cm, 2009

Ink is not an expression of identity, it is not a weapon of soft power, it is my own choice to use this media as a means of expression. I like to use it and am good at taking advantage of this media and it’s flexible nature and the limitless possibilities of painting language expression.

Simultaneously, I tend to endow my works with a new humanistic spirit, resulting in the works becoming an open space haunted by my various experiences, feelings, thoughts, and memories. What is implicated in the suspenseful, pan-religious situations are perhaps new imaginings, personal passions, the subconscious, historical traces, religious mystery, and of course, sexuality and temptation.

Most of my paintings are concerned with memories or everyday life. I’m interested in exploring the relationship between the traditional and the contemporary, in finding out what traditions have endured and in what forms they exist in us today. I believe that tradition and spiritual fluidity can keep our memories coherent, and are thus indispensable in maintaining the vitality of our culture. It can remain as something recognizable, while at the same time ensuring the constant transformation of our culture. Certainly, we can never return to the past, nor express ourselves in the same way as before. I’m dedicated to making traditional media express new voices, and relating both images and ideas to our everyday experiences.

My interest in the relationship between the traditional and the contemporary may be vague and ambiguous, but it is in this vagueness and ambiguity wherein lies its charm. It is of little importance whether this relationship is seen as a kind of connection or betrayal. Instead of clarifying explicitly I’m just trying to contribute a neutral view, to prevent my narration from falling into a new kind of discursive hegemony. The painting technique that I have been practicing is in fact my current cultural standpoint: that is, not aiming at being faster or newer.

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