1970; Macau, China Based in Chiba and Tokyo, Japan
The creativity for me is only a record, a realistic and unrealistic record.
Attracted by the charm and the power of nature, I am indulged to bring its
untouchable beauty into my painting; I express it without reservation, to simulate its
dynamic energy, to capture the context of the natural system with its cellular
movement. There are two sides of nature, which can deliberately make us intoxicated
and at the same can deliberately sweep us without mercy.
Those two elements are relatively simple, first, it's beauty and amiable, the other it’s
In the static tolerance under the surface echo, the stirring the
Pentium thousands of miles of life; others, such as the heart of nature, it runs brilliant
four seasons in harmonize. The truth of nature at the beginning embraces no excess
pollution, purely thorough. The cell is the problem of seawater fluctuations. Eye is the
night of the moon. To tears is the scene of the rain and so on.
Back in 1990, some 20 years ago, the majority of my works were oil paintings on canvas, focused on the physical body, space, dimensions and light. Currently, I like to work a lot on Japanese paper and nature is my soul, the inspiration of the heart of my creativity.
In short, I believe in creativity is a only a simple record of artist sentiment of its pass, current and future environment, a record of the experience, space, people and the surrounding of reality and unreality.
In 2016, in the realm of the expression of the nature, I worked with a series of huge (long) painting 600cmx90cm on Japanese paper with mixed media, ink and pigment to derive the geographical surface nature’s blue/green to express its calm and amiable expression. Similarly, I also work on huge-long painting 600cm x90cm of the nature at its ferocious context and movement, with the surging content and the compelling pressing force waterfall.