I always believe that no matter what form of art, the "human" factor in a piece of work is the most important. Facing the mechanical and cold informatics society, traces of human existence are slowly disappearing, people even have to starve themselves to know they are still alive.
My work has always been pursuing the direct human spirit. No matter its a face, a landscape, I always want to tear away the surface "mask" and show the real living "human" world. Not purposely pursuing, but as if these things have inject themselves into my body and blood. Like an unknown force drove me to do so. I feel that as long as it came from the heart, even if we cannot interpret it, but as long as it surface, we should view it seriously. Regardless of how we give our creation to put on a coat, humanity is vice versa, works with human soul inside the viewer will feel it and will always be touch by them.
I like to use a self examination attitude to describe myself and the things around me, objects appears in my creation no matter is it a bird or a human, they are just my model. They will follow their internal feeling to act as different characters to portrait their internal feeling of uncertainties and stress, like a kind of metaphor. They are what my deepest feeling during that time; with some hope but also loss of hope, felt with conflict and mixed feelings, even those tinny brushstrokes help me to claim myself and allowing me to return to peace. There is a force that drive me to put all my life and passion onto my canvas and this is also why I choose painting over other mediums. Every strokes seem to have a life, it slowly melts into our bone marrow. From this point, I was deeply influence by Mei Huang, and Cezanne. Every brushstroke in their works seem like a silent speech, slowly melting and penetrating the canvas and later touches the viewers too. I am obsessed with this kind of expression, being touch by this vibrant type of life, as if it is the source of life.