We all follow our own path in life. Our experiences naturally shape who we are. My paintings naturally reflect my spiritual journeys in China and Germany. I don’t think I can change these aspects.

My coloration is not very ‘Chinese’. In ancient China, colors were often given moral meanings. Certain colors were disregarded or simply avoided.  In the mid-1950s Socialist Realism with a formulaic and ideology based approach to color was introduced from the former Soviet union. What these painters learned was not the color tradition associated with the Renaissance. Traditionally, the chinese often looked at colors in isolation. Combinations auch as bright red flowers and bright green leaves could make a painting appear less subtle or harmonious in color. European painters tended to place a greater emphasis on color coordination. For example, they would like carefully about what would happen when a particular warm red meets a particular warm green. Western painters have a highly personal approach to painting. They consider each color and each color combination unique. 

I usually use two primary colors in one painting and explore the effect produced by their interaction. To me, the use of two colors can be rather complex and it can lead to many possibilities. 

Generally, I use transparent, water-soluble materials to treat the canvas and this allows a small amount of pigment to go into the fabric. This method is very important because it gives my painting a sense of depth. Than I can add more layers to complete the work. I paint in a rather spontaneous way; I use ready-made pigments or mix colors based on my moods and feelings. I always choose a color, which can interact nicely with another color. They are complementary and interdependent. If they do not go well with each other, I will try something else until the perfect combination appears. This intuitive process is critical; it is like waiting for the muses to come. I may get it right in a single process. But sometimes, it takes a while and I have to try it again and again. Sometimes, even after completing a painting, I might repaint it. There is no average amount of time it takes to create one work.

My work is non-figurative. Whether it is abstract or not, I am not that concerned. I am more interested in the contents created through the arrangement of formal elements in the painting. Certain combinations of planes can create an illusion of depth. Form and Space are inherently linked. Many of my works deal with 3-dimensional forms in space. sometimes, a few elements in the painting convey an immediate sense of motion and life.

I approach ‘slow art’ more from the viewer’s point of view. If you take your time to look, you can actively and deeply engage with the artwork. In this slow process, you will discover more and more nuances, variations in the work. A good painting always gives you something new each time you look at it.

From the catalogue “Chinese Abstract Slow Art”