b.2000, I currently live and work in Shanghai.

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​In my current series of painting, the drips is not a peripheral byproduct, but rather, the meaningful aesthetic subject. Echoing Deleuze’s theory of the Rhizome, the web-like, root-like, synapse-like textures of the drips suggest an unregulated flow of energy across a de-centered and rimless structure of reality. Against this dissolving psychological landscape, a more figurative—though not strictly representational—and scattered layer emerges, evoking pastiches of biological and visceral actions.

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These paintings also unfold through the temporal significance of the dripping process. At certain concentration of the oil-pigment compound, the overflow of the solvent begins to erode and drip downward, as if eating away the paint along its dripping paths. The dripped textures emerge through a duration of 2 to 12 hours. The remaining paint is then smudged and molded into fragmented contours that tease the edge of recognition.

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This process-driven approach allows me to shift between the roles of an observer and intervening agent, treating the randomness of the drips as an expressive integral. Through the layering and collage of anatomical imagery and classical landscapes, the act of painting is transformed into a metaphor for post-contemporary delusion, where various life forms seem to meld in a unique kind of symbiosis. The erroneous glitches – the fringes of fragments, the ruptured paint film from which the drips derive – become the elusive sites for subdued sentiments intersecting anxiety, mourning, hope, and dissociation.