About
A ten-year archive — from academic anatomy studies and Song-dynasty flower-bird copies to the body-print canvases of Cell Universe.
The hand is the physical origin of all human creation, labor, perception and resistance; it is the very tool the artist holds brushes, confronts adversity and connects with the world. Each gesture across the series (fully outstretched, tightly fisted, cupped, reaching forward, gently curled inward) corresponds chronologically to the mental journey of ten years studying art: Outstretched exploring hands: Curiosity at the start of art study, testing and expanding creative boundaries; Clenched fists: Perseverance against academic pressure, geographic transition, and conflicts between tradition and modernity; Retracted inward hands: Period of confusion and introspection, breaking free from rigid academic limitations; Soft relaxed hands: Self-reconciliation, acceptance of personal style, and embrace of diverse artistic values; Upholding hands: Firm commitment to artistic ideals, sustaining creative passion with long-term dedication.
Ten Periods · 2016 — 2025
Transferred from Oil Painting to Traditional Chinese Painting in 2017. Deeply studied the history of Chinese fine arts, systematically imitating classic flower-bird and landscape works from Song, Yuan, Ming and Qing dynasties. Rooted in traditional brush-and-ink techniques, integrated contemporary personal aesthetics to form an ink style combining ancient heritage and modern expression.
Figure Ink Painting In-depth Period (2018) — Evolving from basic sketching and commissioned portrait orders to field creation among laborers, finalized a personal artistic style centered on highly difficult freehand figure painting, combining traditional Chinese ink brushwork with contemporary realistic human narrative, and shaping solid modeling skill, expressive ink language and exclusive artistic identity.
This batch is the original experimental works of Cell Universe created in 2024, made before the final maturation of my artistic language. With original stamping textures, circular cell symbols and thick abstract brushstrokes, these paintings reflect women’s physical confinement, mental repression, setbacks in reality, grievance, anger and inner struggles in society. Each circular cell is a miniature of the self. The bold clashing colors and unrestrained lines release complicated emotions from facing prejudice, life pressure and identity restrictions in early years. It records the awakening of self-awareness, confronting pain and fighting against hardships, laying both spiritual and technical foundations for the later mature and calm Cell Universe series.