Growing up in Taiwan, I was deeply influenced by traditional Chinese brush painting and calligraphy. I began to experiment with materials that partly characterize modern Western painting after I moved to New York City in 1993. I now utilize mostly special treated canvas, linen, raw fabrics, and paper. The absorbent and textural qualities of these materials differ from those of traditional canvas. Sometimes I leave the finished work hanging on the wall as is without stretcher bars to resemble the hanging scroll format from the traditional Asian style paintings.
The style I choose is abstract because I’ve always been intrigued by form, pattern and colors. My interest may have started when I was four years old. I remember seeing the floating, shining dust particles reflecting the sunlight in the stale attic air of my family’s old house. The magic quality of nowness left an unspeakable feeling in my mind.
Chinese is mainly a pictorial language of Yin and Yang principle. Each symbol has its vibrant life. When executing the brush strokes, I am particularly mindful and aware of the space in between. The empty space becomes a crucial component of the painting itself. The work is alive within the space and energy of those marks and colors, imbued with the spirit of the artist.
I use the materials to reflect the feelings and perceptions I have experienced in life – the ever changing, flowing, timeless moments of this chaotic and harmonious vast world.