1. 1970; Macau, China
   Based in Chiba and Tokyo, Japan

Artist Statement

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

ferocious ruthless.

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.