I was born in China and lived there for half of my life, experiencing the effects of the Cultural Revolution from 1966 – 1976. In the 1990’s I immigrated to the United States and built a new life here.
Life experiences under two entirely different cultures, languages, and ideologies weigh heavily on my conceptual thinking and approach to painting
My formal art training was divided between Chinese traditional painting and western oil painting. Since then, I have been immersed in the world of painting for decades.
Since the very beginning, my intention has been to convey my own interpretations and critiques of contemporary life, and to express those thoughts with traditional techniques of painting.
My artwork is primarily driven by lines and shapes instead of light and three dimensional space.
My approach to color is based on the traditional Chinese theory of “coloring with elements” combined with the Western theory of “coloring with environment.”
The compositions in my work draw upon the “distributed perspective” of traditional Chinese painting, where viewpoints are collected and determined by will.
Most characteristic of my work is use Chinese calligrapher brush strokes to deal with Abstract Expressionist color.
在中国生活几十年，经历了十年文化大革命。一眨眼来美国也有几十年。两种截然不同的语言，文化，体制，意识形态下的生活经历注定了我在选择绘画主题时偏于沉重和观念，而少沉迷于风花雪月。用西方的观点讲是侧重于观念和概念。而对中国传统绘画的朔源则不违于魏晋时谢赫的”外师造化，中得心源”。
由于是绘画出身，几十年都沉浸在一个”画”字里而不想也不会动用其他手段。艺术的形式语言必须有感而发，而不能生搬硬套。
我的初心直到现在还是追求有自已对当今时代的认识和感受並用最传统的工具进行表现。造型是以线，形为主而不追究光影和立体。色彩也基于中国传统的“随类赋彩”而辅之西方的“环境色”因素。画面布局更立足于中国传统绘画的“散点透视”而随意为之。最独特处应是中国书法用笔与西方抽象表现主义色彩的结合。
以上是我的个性和经历所决定。作品的创作过程，痛苦，愉快都是追求而不违背自已这一原则，结果如何只能由观众评说。但我的创作心态是充实和快乐的。
