《游园惊梦》—《京梦》

        当我好几次走进苏州园林时，感觉总是处于一种梦游的状态，你能感觉那样的文化传统是多么的让人神往，它带你到某种意境中去，但你的自身感觉永远是漂浮的，虚幻的，当你如梦般惊醒的时候，你会质疑，这是存在于现实中的场景吗？当我再想把自己完全融入到这样一个文人气息的国度里，你才发现自己的成长经验，文化结构，价值体系已经很难去深入理解这样的文化情结了，只是停留在表面的“观看”上，走马观花式地“看”传统文化和历史图像已经成了我们这代人的视觉观看度。在这个“度”里面，越是想看清事物的本像时，你越发现它是个抽象的图案，更像是现实社会里的虚拟代码。出于这样的一种思考下，我在前期的图片准备上用电脑做了一些特别的处理，模仿摄影术中的“曝光”，成为我作品表现的核心。当摄影术的诞生和广泛应用丰富了人们用肉眼观看世界的方式，曝光的技术使物体的呈现在黑暗中更加“清晰”。而今人们对大量图像资源的需求，使得曝光频率大大增加，眼花缭乱的图像随处可得，使单纯的摄像不再像以前那样意义深刻，从而显得肤浅，平凡。我作品中“光”的出现也就预示着这样的一种观看态度。“光”是强大的，有了“光”图像才能显现，它可以呈现一种东西，但它也可以消亡一种东西。“光”也是时间，时间有着不可逆转性，时间的力量是可怕的，它会慢慢吞噬一切，强大的“光” 也可让时间停住，在那一刻变成永恒。所以，“光”是我搜寻历史文化的媒介与手段，也是我将这些历史切片定格瞬间的时间机器。在我将图片转化到画布的过程中，我是用传统的九方格的方式来勾勒出图像的外形的，尽量将图像上所有的细节都照搬于画布上，整个绘画的过程就是一个在寻找历史碎片记忆的过程，将所有细节都尽可能的清晰呈现，越是清楚其实越显得抽象，这种真实是一种非真实，虚拟化的真实，所有的环境、物象、细节都是在一个梦幻，鬼魅，隐晦，暧昧的气氛中显影的。当观者参与其中的时候，他们总是先被那强烈而苍白的“光”所吸引，随着光线的散开，物象才会慢慢从画面中显影，当你处于一个中间距离的时候是个全景式的历史切片，但当你越来越近的观看它时，你只是看到一些更为抽象化的线，在画面上游走，充斥着整个画面。这个绘画与观看的过程就是我想诉说的我们这一代人在“看”这些传统历史文化时的一种普遍心态。心理的距离是真实存在的。在这个阶段我是扮演着一个客观的打着灯笼来搜寻历史记忆的现代人。

综述：
        在翻阅历史图片的过程中，粗略地浏览已是我们这代人的观看习惯。然而，当摄影中的曝光术使物象的呈现在黑暗中变得既模糊又清晰时，“光”的出现正好代表着另一种“再”观看的态度。因此，“光”是我搜寻记忆的媒介和手段，也是将历史切片定格瞬间，直至永恒的时光机器；它建构了过去、现在和未来的一种联想！

《花卉》系列：

        最初创作花的系列是源自效仿宋人团扇花卉形式的想法。在来自内心的纯粹光线中，恣意绽放的花朵，犹如烟花般短暂的，不切实际的美丽。这种戏剧般的光，照射着花蕊的中心，光越强烈，中间的花蕊却显得越残败,越缺失完整性。我想把最灿烂的时刻用强烈的光束定格为永恒的片刻记忆，放佛这一瞬过后，完美就将凋零，生命也就此谢幕。正是这样的镜中花月和转瞬即逝，才能在盛开的寂静中摄人心魂。

Series “Awakened Garden” and “The Beijing Dream”

        Every time I walk into a garden in Suzhou, I always have the feeling of being in a sleepwalking state: the cultural tradition that Chinese gardens suggest exerts immense fascination on me, influences my mood so much that I feel like floating in the realm of the unreal. Once this dream is over, I cannot avoid asking myself whether what I have just been through was real. But every time I want to re-enact this experience and immerse myself again into the world of the literati, I realize that my personal growth, the cultural structures and value systems I have always adhered to prevent me from fully understanding this specific cultural context. Therefore, it is just possible to “observe” it in a superficial way, randomly “see” how traditional culture and historical imagery have influenced my generation's perspective on things. But the more you want to rely on this “perspective” to grasp the essence of things, the sooner you realize that their essence is an abstract path, a virtual code hidden within reality. Based on these thoughts, I have decided to use the computer to manipulate the imagery used in my early works and imitate the technique of "exposure" used in photography. This has become the leitmotif of my oeuvre.
        The birth of photography and its widespread use have enriched the way people see the world through their eyes; in photography exposure makes objects originally hidden in the dark become more "vivid." Today, people’s thirst for images has dramatically increased the need of exposures to shed new light on things; every sort of images are widely available with the result that a simple camera is no longer as meaningful as it was in the past. It has become, indeed, a superficial and trivial object. In my body of work, “light" embodies the presage of a similar approach to seeing. "Light" is a powerful means because it allows images to emerge from the dark, it gives birth to things, but can also destroy them. "Light" is time. The irreversibility of time makes it a frightening force that slowly devours everything. It is the power of "light” that allows time to stop and crystallize into an eternal moment.
        "Light" is the means I employ when I want to find a way to look back into history and traditional culture. It is the time machine I rely on to access moments already fixed in history. When I transfer these moments onto the canvas, I usually sketch the subjects I want to portray using a traditional grid pattern made of nine squares; I try my best to be as accurate as possible and portray every single detail. To me, the process of painting corresponds to the process of searching for fragments imbued with historical memories. In this process, crystal clear details seem abstract, too. The reality created through this process is actually unreal, it is a virtualization of reality, so the different contexts, images, and details are all suspended into a dreamy, fairy, vague, and ambiguous atmosphere. When the viewers actively participate in my work, their attention is always captured by the strong "light" dominating the composition. This light spreads across the surface of the work to let other shapes gradually emerge. If you observe this type of work at an intermediate distance, a panoramic view of different portions of history will disclose before your eyes. But if you observe the same scene at a closer distance, you will just see an abstract composition of lines. For the people of my generation, the process of painting and observing we embrace echoes the way we “regard” tradition, history and culture. There exists a real psychological distance between them and us. At this stage of my artistic research, I feel like someone that with a lantern in his hands embarks on a journey to look for the historical memories of modern people in an objective way.

Summary
        In approaching historical imagery, young people of my generation share the habit of browsing at random. But when exposure in photography makes subjects both blurred and clear, the appearance of “light” offers the chance to “re”-consider things in a different way. Therefore light is the means I use to search for memories, to fix fragments of history in time, it is the eternal time machine. Light is the mental association able to create the past, the present and the future!

Series “Flowers”
        The inspiration for my first series of flowers comes from the idea of emulating the iconographic patterns of the moon-shaped flower paintings of the Song dynasty. Light rays spread from the central part of the flowers’ heads, flowers unfold in front of the viewer and bloom like fireworks imbued with a transient yet unrealistic beauty. The dramatic light illuminates the central part of each flower where the light rays are more intense, while in the other parts they look feebler and scattered. In this series, I want to use a powerful ray of light to freeze the most brilliant moments and fix them in time, let them become eternal memories. But in the twinkling of an eye, perfection fades away in the same way that life does, too. In this moment when beauty reveals to be transient, it silently shows also its most alluring side.