Wandering Mind I
2012
Latex paint and acrylics on canvas
183x183cm
Wandering Mind II
2012
Latex paint and acrylics on canvas
154.2x154.2cm
Wandering Mind III
2012
Latex paint and acrylics on canvas
160x160cm
Wandering Mind IIII
2012
Latex paint and acrylics on canvas
183x183cm
Boundaries of Seeing-Momentum I
2017
Archival Inkjet Print on Canvas
1.5 x 6.72m
Boundaries of Seeing-Momentum II
2017
Archival Inkjet Print on Canvas
1.5m x 8.982m
Tropfen
2017
Archival Inkjet Print on Rice Paper
1.5x1.8m
Inscription of Time
2017
Archival Inkjet Print on Rice Paper
1.5x1.5m

Inscription of Time is another attempt to incorporate digital means to my process. The image was a rubbing from the rough surfaces of an oil painting that was drenched in ink. The rubbing presents itself as a visual narrative on the painting’s sense of touch. The enlargement of the image through the same process prolongs the time of viewing while the visualization of the sense of touch complicates the experiences of seeing. 

Naksatra
2017
Archival Inkjet Print
35.25x50cm

Naksatra (meaning star in Sanskrit) is also a digital reproduction that originally came from my iPhone photos. It documents a specific transient moment of an in-process painting which was later covered up to satisfy my curiosity in furthering the painting. This precious painting memory that cannot be recreated is fortunately retrieved through digital reincarnation.

遊心 | Wandering Mind

2012

This series comprises 4 abstract paintings of a restrictively monochromatic palette in order to accord with the color of ink and rice paper peculiar to Chinese calligraphy and literati paintings, emphasizing the dialectic of black and white, the painted and the unpainted, being and nothingness. The work suggests a sequence of viewing from Wandering Mind I to Wandering Mind IIII, a spiritual walk from the obscurity of chaotic beginnings of the world to an attainment of ease in letting go of obsessive pursuit of the unintelligible truths, referring to the spiritual aimless wandering in Chuang-tzu, in which Lao Dan’s complete absence of mind revels in the rising and ceasing of things as he “walks [his] heart before things come into being.”