Having been born in China and studied in United States, my use of composition is greatly influenced by Dao philosophy. I regard the implicit application of empty space, wherein the context defines the emotions, as the encapsulation of intent in my narratives, whilst my aspirations for subjectivity draws on a combination of collective memory, political theory, and literary fictions formed from my travel.

My work is both impressionistic and figurative, meticulous in the use of traditional western considerations; such as light, color, tone, texture, yet in tandem with traditional eastern philosophies on composition, as influenced by Badashanren (ZhuDa, 1626-1705 ). These contradictions create neither a purely abstract or purely representational version of reality in my work, but rather focus on the sublime combination of figural and spatial objectivity with the subjectivity of social perception.

I believe these contradictions are related to the two sides to every person, and for every one of them there is a little world. I have always been interested in the differences in human gestures and behavioral expression, and how these hidden codes define the context of their world as a comparison of emotions we present in a public context, versus those we hold in private. I am interested in what they signify, from a wink to a tear in the eye, and how a range of emotions are expressed in face and by the body as a psychological puzzle of dynamic dimensions. In my work I choose to focus on figures that are in response to culturally and ethically contradicting conditions. The figures in my painting vary in their identities, and range from politicians to unknown persons, both whose emotions act out seemingly forgotten by a reckless society. Yet, in my paintings they are living, albeit in another world, through their unpredictability. Subversively, the playful side of my subjects are cast against their internal struggles with power, and combined with other allusions to project a frightful innocence.

In this sense, I am in pursuit of a new aesthetic romanticism. I want my viewers to feel that they are familiar with where these characters are in my paintings, yet naive to knowing where they coming from or where they were going. They exist in some new place, as an exchange between character questions, and the possibilities of embodying pain, or enjoying fears whilst playing depending on a certain point of view. My curiosity of these strange emotional conflicts drives my character development and their portrayal on the canvas towards new questions of behaving bravely in dangerous situations, to challenging the gender bias of subtle sexuality in gentile character. In essence my work is about the conflagration of the contextual society and it’s bureaucracy.