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Image 1 of 1
Image 1 of 1
Image 1 of 1
Water based media
42 × 30 in
The central theme of my work is coexisting—an exploration of our relationship with ourselves and with the other beings that share this planet. Humans are only one part of the world and the universe, yet we often overestimate our own importance. My paintings reflect the interconnectedness of all life, from people to plants, animals, and even the smallest overlooked creatures, as well as unfamiliar forms revealed through new technologies and space exploration.
Human-like forms in my work are rarely depicted directly. Instead, they are suggested through gestures, biomorphic shapes, or abstract structures. At first glance, viewers may not notice them, but with closer observation, questions begin to arise: Are these figures human, plant, flower, insect, or something entirely unknown? Do they exist in mountains, oceans, space—or across multiple environments at once, forming an imagined dimension? Are they real, imagined, or somewhere in between? These open-ended questions invite viewers to engage with the work through their own perception and imagination.
Imagination is essential to my practice. I work primarily with water-based media to create abstract paintings, using fluidity, chance, and intuition as active elements in the process. By enlarging or distorting abstract forms and shapes, I construct dreamlike landscapes and unfamiliar beings that exist within an imaginative, in-between world.
My artistic language is deeply shaped by my childhood experiences growing up as a single child during China’s one-child policy in the 1980s. Cultural expectations and a highly competitive, exam-oriented education system emphasized memorization over critical thinking and imagination, affecting both school and family life for an entire generation. For me, the absence of siblings, the inability to have pets, and limited social interaction led to isolation and a lack of confidence. Nature became my primary source of communication and emotional expression. As a child, I spent time collecting small insects, placing them in jars, talking to them, and playing with them—they became my earliest listeners.
As a professional artist, my imagination continues to draw from nature, memory, and subconscious thought. Fragments of these experiences are translated into visual symbols that form the personal language of my paintings.
Free imagination remains central to my work in two ways: as an internal freedom in the act of creation, and as an open space for viewers to interpret and imagine without restriction. The meaning of my paintings is not fixed or predetermined by me. Instead, significance emerges through the process of making and through the audience’s individual interpretation. I value the absence of a single, specific meaning, offering instead a quiet, open, and visually poetic space where imagination can exist freely. In this way, my work reflects a fundamental human need for reflection, connection, and imaginative freedom—the essence of art itself.
Water based media
42 × 30 in
The central theme of my work is coexisting—an exploration of our relationship with ourselves and with the other beings that share this planet. Humans are only one part of the world and the universe, yet we often overestimate our own importance. My paintings reflect the interconnectedness of all life, from people to plants, animals, and even the smallest overlooked creatures, as well as unfamiliar forms revealed through new technologies and space exploration.
Human-like forms in my work are rarely depicted directly. Instead, they are suggested through gestures, biomorphic shapes, or abstract structures. At first glance, viewers may not notice them, but with closer observation, questions begin to arise: Are these figures human, plant, flower, insect, or something entirely unknown? Do they exist in mountains, oceans, space—or across multiple environments at once, forming an imagined dimension? Are they real, imagined, or somewhere in between? These open-ended questions invite viewers to engage with the work through their own perception and imagination.
Imagination is essential to my practice. I work primarily with water-based media to create abstract paintings, using fluidity, chance, and intuition as active elements in the process. By enlarging or distorting abstract forms and shapes, I construct dreamlike landscapes and unfamiliar beings that exist within an imaginative, in-between world.
My artistic language is deeply shaped by my childhood experiences growing up as a single child during China’s one-child policy in the 1980s. Cultural expectations and a highly competitive, exam-oriented education system emphasized memorization over critical thinking and imagination, affecting both school and family life for an entire generation. For me, the absence of siblings, the inability to have pets, and limited social interaction led to isolation and a lack of confidence. Nature became my primary source of communication and emotional expression. As a child, I spent time collecting small insects, placing them in jars, talking to them, and playing with them—they became my earliest listeners.
As a professional artist, my imagination continues to draw from nature, memory, and subconscious thought. Fragments of these experiences are translated into visual symbols that form the personal language of my paintings.
Free imagination remains central to my work in two ways: as an internal freedom in the act of creation, and as an open space for viewers to interpret and imagine without restriction. The meaning of my paintings is not fixed or predetermined by me. Instead, significance emerges through the process of making and through the audience’s individual interpretation. I value the absence of a single, specific meaning, offering instead a quiet, open, and visually poetic space where imagination can exist freely. In this way, my work reflects a fundamental human need for reflection, connection, and imaginative freedom—the essence of art itself.