statement

To deny, forget, and ignore is always my biggest challenge as an artist....

it needs
the courage to kill my "ego"
the sensitivity to feel the difference
and
the wisdom to find the new path

My approach to painting is one of finding order in chaos. I seldom begin with any set of idea on how a
painting should look. My starting point is usually the impulsive gestural action and paints itself, then through
the process of interactions, the marks I've made and the colours and forms I've created begin to suggest the
direction the painting may take. Instead of the final visual results, process of my art making has been remain
in my painting usually , I prefer to engage viewers in my experiences in taking risks, challenging and solving
problem in my painting

I avoid effects which are too direct. I enjoy painting with the feel of ambiguity. For instance: unfinished but
completed, antique but modern, brutal but poetic, commercial but artistic, happy but melancholic.... I like the
way they call my imaginations and arouse my feeling beyond the logical and conscious level.

Gestural strokes is main building blocks of my visual vocabulary . I prefer to transfer my action into my
painting. It reflects the decisive actions of my visions or the intuitive response of my emotion. Instead of
stagnant images, I prefer to capture the images in a multiple glimpse of look, as i feel it well present our
interaction and perception of surrounding with more spontaneous manners nowadays

I work with everything I can from brush, finger to a knife to create effects from the thickest impasto to the most
fluid glaze. It allows an enormous range of marks and textures. Adding and removing paints are a counterpart
of my process. While building up layers through brush or knife, using knife also be the perfect way to scratch,
scrape, burrow and dig to reveal the layers of work beneath.

Time is also an important part of my painting process, I feel very strongly that the more you can engage your
own feeling in reading a painting, the more you become personally involved with that work, and therefore the
more satisfying it becomes. Paintings in the various states of completion cover the walls of my studio. They
are then picked up again, working and reworking continuously until I finally extract what the painting is about
and continue to its conclusion.

I spend a great deal of time in my studio listening to each canvas to divine its particular voice. Hopefully, if the
viewer is willing to devote time to my work, they too may hear something of the voice that was in my head.

About me /statement
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