My paintings are a record, or a re-creation of my present experience. I primarily use representational language to arrange images and motifs from different cultural spaces and times on the canvas. This "collage-like" visual arrangement is never precomposed - I seldom make sketches for my paintings. Sometimes, the first thing to appear on the canvas might be a summer sky from my hometown of Yongchuan, or an image of a scissor blade hanging from a nail occupying a small portion of a largely blank space. I value this spontaneous way of working because it makes up my "present," even though these "presents" often point to things from the past.
If there is one thing that my paintings intend to emphasize, it is that as the images slowly pile up on the canvas, the temporal and spatial identity they originally carried becomes less important. By extracting the pictorial language from their original contexts, I want to use a playful way to challenge, question, and subvert our habitual reading of images and symbols. Undoubtedly, this way of creation produces chaos and a lack of logical sense, but for me, this chaos is just the kind of realism that I experience in the contemporary social environment(s). Human nature dictates that we tend to favor pattern over randomness, which ensures the order we experience in our daily lives. Won’t it be extremely disappointing and dull if painting also has to submit to this inertia of ours?
I am simultaneously the creator, a spectator, and critic of my work. I do not possess ownership over the images in my work, so their symbolic meanings are always fluid and elusive. Every time my painting is viewed, it is reborn.
我的画是我在当下的存在体验的一种记录，或者说一种再创作。我主要运用具象的语言在画布上去编排来自不同文化空间、时间的图像和符号。而这样类似“拼贴画”的视觉编排从来都不是事先计划好的——我几乎不会为画做草图。有时候最先登场的会是某个夏天故乡永川的天空，有时候一大片空白的画布上可能只有半个挂在图钉上的剪刀。我很看重这样的“随想”方式，因为它们组成着我的“当下”，尽管这些“当下”往往指向的都是过去的东西。
然而如果说我的画想强调什么，那就是：当图像慢慢在画面上堆砌累积的时候，它们原本携带的时间和空间的身份信息就没那么重要了。通过把图像语言从他们原有的语境中抽离，我想用一种玩味的方式去挑战、质疑、颠覆我们对图像符号的意义的习惯性阅读。这样的创作方式自然会产生混乱以及一种逻辑上的缺失，但对我而言，这种混乱未尝不是我生活在当下社会环境体验的一种写实。我们日常生活中体验到的种种秩序是因为相对于随机性，我们更倾向于规律，这是人类的天性。但如果画画也要无条件顺从这一惯性，那未免就有点无趣了。
我既是我的作品的创作者，同时也是一个观众和一个批判人。所有存在于我的画布上的图像都不是属于我的，因此它们的象征意义永远是流动、飘渺的；每一次被观看就是它们重获新生的一刻。
