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My paintings are the products and responses to my surroundings.

In making abstract paintings, I explore relations and interactions between colours and shapes with reference and inspiration from architectural space where I experience daily. Each piece captures the moving conditions of light and time. Through subtractive simplification, my work transcends flat images or physical objects, and documents introspective moments. Often combining two panels or canvases, the space in between the surfaces is activated with the colour and shape extending from the front. Sides are partially painted, therefore the colours are reflected on the wall, creates an illusionistic continuation from the front surface.

In addition to the paintings themselves, I have collected tapes and contact sheets that I use to mask out the area for paint. The same kind of paint left on the tapes and contact sheets but it appears with a totally different look in comparison with the defined and rigorous shapes on the paintings. They become two opposite stand-ins as Duality of me being both controlling and free simultaneously on different surfaces. They coexist with each other, with distinct results from the same process.

我的作品是我感知周遭环境的回应和产物。通过创作抽象绘画,我用探索颜色与形状之间的关系来描绘每日所见所感受的围绕在我身边的建筑空间。每一幅画捕捉了移动的光影与时间。我的作品以简化的方式来转化和翻译实际生活中的物件与空间,记录自己内省与提纯所看所想的过程。光和影是我在建筑空间中经常观察到的很重要的一对。在近期的作品中我经常组合两个画板或画布。通过把两个画板靠近的边涂上颜色,作为整体画面的延伸。因两边的颜色产生反光和阴影激活了两个画板中间的墙壁区域,从而创造了一种视觉双元——存在于这幅画中的不只是在画板上不透明的颜料,还有相对而言有呼吸空间的光与影。

除了这些画作本身,我也收集了在创作过程中用来圈出上颜料的区域的胶带和透明菲林。同种的颜料留在了胶带和透明菲林上,但与留在画作本身上轮廓分明的严密的图形看起来完全不同。他们是一组在不同表面上的对立的表现——是我同时用控制与自由的方式去绘画的产物。他们与对方共生共存,是从相同的过程中产生的截然不同的结果。