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我的作品風格一直探求中國畫和西方媒介的結合。中國畫傳統是使用墨水，礦物顏色等畫在絹本或者紙本上。雖然在香港長大，但一直接受的大多是西方的藝術訓練。在2018年，我先後到訪了中國西寧學習佛畫唐卡，和到日本藝術居留，意識到，由於語言，信仰和生活特質的不一樣，這些經歷讓傳統東方畫在構圖，筆觸等有截然不同的感覺。我透過日常生活中的紀錄和影像，加上感官和記憶，構成一個融合記憶和幻想的景觀。而使用了墨水和絹本作為媒介，加上留白的虛實對比，達到一種中國畫特有的氣質。 |
My style of work has been exploring the combination of Chinese painting and Western media. Traditional Chinese painting is to use ink, mineral colors, etc. on silk or paper. Although growing up in Hong Kong, I received mostly Western art training. In 2018, I visited Xining, China to study Buddha painting thangka, and stayed in Japan for one month for the artist residency program. I realized that due to differences in language, beliefs, and lifestyle, these experiences make traditional Eastern paintings have a completely different composition, brush strokes, and feelings. I use the recordings and images from daily life to form a landscape that combines memories and fantasy. I found that Eastern aesthetics and literati thoughts had been deep-seated in my personality. Since then, I combines ink, acrylic, Chinese pigments on silk as painting media, and the emptiness in painting achieves traditional Chinese aesthetic.
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花非花在「花非花」這個系列，我想表達的是循環不息，萬物的交替。靈感源自於所有事物都在不斷流轉和變換，一塊石頭，它是沙，是水，曾是萬物。而我們所見的世界，只是其中一片刻。所以我的畫作主要以圓形為主，用建築、植物和代表城市符號的幾何圖形互相纏繞，交替。以此表達事物生生不息，不斷改變，被取代，生活無常，沒有起點或終點的狀態。「花非花」取題來源於中國古代詩人白居易的詩句，表達事物的虛幻和易逝。
Flower no FlowerIn the series "Flower no flower" I want to express the endless cycle, the alternation of everything. Inspired by things are always changing, inconstant, undergoes rebirth, and death. So my paintings are mainly in circle form, with buildings, crystals, stones, and plants in a winding way to express their interdependence and the cycle of birth and death. "Flowers no flower" this title named from the poetry of ancient Chinese poet Bai Juyi, expressing the illusion and perishability of things.
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