When I saw the pair of bookstands on a white tabletop, “seeing” is nearly blank at that moment. It’s lost its meaning, but for me, it gives me a chance to breathe freely.

Once I’ve done painting, it’s difficult to trace back or focus on the specific source of these works, or perhaps I feel it’s unnecessary; the complete works introduce new objects of sensibility and new experiences. “This moment” covers those from the past.

Often, I don't give too many thoughts on "whys" before I start doing something. Sometimes, it can be a protruding crease, a color with vibrant texture, a series of repetitive shapes, or a detail that I caught inadvertently would suffice to provide me the impetus. Then, I need a general imagination and direction from this object and determine their dimension.

As the most essential component, the dimension of a painting often determines our perception of the work. In the course of painting, I am less concerned with the language of painting, what may seem interesting could also be taken out, so the painting would be even and unified. Rather than making paintings that emphasize on taste and “personality”, I am more interested in the essentials. What these essential elements may provoke emotionally seem more durable and lasting.

“Accuracy” in the course of painting embodies the experience of being focused, rather than the outcome, that is directly correlated to sensations.

Seeing gives meaning and seeing is creating. “Meaning” is unharnessed, when I try to follow it, it’s often unfound; when I give up on searching for it, they seem to appeal to me to get closer and to imagine.

I tend to conceive painting as a formal object that contains content, rather than a linguistic medium in service of self-expression. "Resetting" is a formal approach drawn from personal experiences, rather than a specific method. It encompasses two aspects, other than the thoughts on structure, form, and materials in the course of painting, it includes managing sensations and logic in the act of painting, and the attempt between personal experience and the inherent expressions of painting.