About

I conceptualize my practice as an ethical inquiry—mediated by oil painting, constrained by cyanotype, and bounded by the mirrored canvas. Within this framework of self-imposed limitation and infinite reflexivity, I delineate the boundaries of space and time. To me, the surface of the canvas is a theatrical curtain: it funnels the frenzies and inhibitions of our apathetic era into the individual, forcing the subject into a state of coexistence and contention between sensibility and reason.

By extracting imagery from Chinese poetry, nature, philosophical allegory, grand narratives, and zoomorphic incarnations, I integrate traditional oil painting with mirrors and cyanotypes to blur the two a priori conditions of intuition: spatiality and temporality. Mirrors and cyanotypes also serve as two limitations of perception: the former allows space to proliferate infinitely, while the latter compels time to unfold irreversibly.

The subject “I,” as presented, inevitably becomes the executor and bearer of the painting practice. While the subject paints and expresses itself as a funnel of collective memory and the subconscious, it must become the sole and direct recipient of both negative and positive impact. By mixing sand, paper, and ceramic fragments into the pigments, the subject must continually surpass material construction in order to perceive and act. Though I envision a magnificent and splendid scene as an idealized pursuit, it can never be reached through this circular striving.

These works do not explicitly depict social mechanisms, they serve as personal journals, chronicling the clash with reality and the subsequent reconstruction of reason. I avoid directly depicting specific events or human figures. Instead, I put a seemingly cold mixture of imagined creatures under the spotlight. In this way, I try to reflect the "unspeakability" of contemporary crises—trapped in the liminal space between expression and suppression, striving and disappointment.

Ultimately, the canvas transforms into an arena where the will to survive grapples with external limitations in a hollowed-out reality—a byproduct of memories pruned by the era and a state of "hyper-transparent" order. Navigating between truth and illusion, I seek a visual language that possesses both the strength of moral reason and the openness of sensory experience.

我将创作视为一种以油画为媒、蓝晒为限、镜面画布为界的伦理实践，在自我设限与无限自反中划定时空边界。画面对我而言是一块幕布，将时代的狂热和禁锢同时挤压进个体，迫使主体在感性与理性间彼此依存又互相缠斗。

我的作品虽不直接描绘社会机制，却如个人日记般记录了主体遭遇的现实冲击与理性重构。画面中并无具体事件，亦无人物现身，正如在倾诉和压制间，当代困境常处于无可言说的境地。通过提取诗歌、自然、哲学寓言与动植物化身的图像，我将传统油画同陶瓷、蓝晒影像结合，旨在混淆感性的两种先验条件——空间与时间。

然而，情感若无制约易流于溃败。正如康德所言，主体的尊严源于理性的“绝对命令”。为使感性想象受制于内在法制，我引入镜面与蓝晒：前者使空间无限衍生，后者令时间不可逆地蔓延，两者共同构成了主体的认知限制形式。同时，我在颜料中混入沙粒、木头、陶瓷等材料，以物质阻隔限制笔触的挥洒。多层堆叠以后的画面，是一种在空间反射与时间不可逆性中完成的自我反思。

在此，画面成为一种生存意志与外界压力搏斗的角斗场。被时代修剪过的记忆与高度透明的秩序，共同形塑着某种空心化的现实。在真实与幻象间，我寻找一种既具道德理性力量、又保持感性开放性的图像语言。