born and raised in Chengdu until 2017. The neighborhood I spent my childhood named West Zitong Bridge Street.

My current work begins with painting, and the removal of the traditional substrate. I work with acrylic because it is able to form a self-supporting surface, while still carrying the condition of painting.

In 2025, I described my practice as an attempt to produce painting in its most immediate form: to understand what holds painting in place.

I continue to think through the position of being a painter. If the structures that usually define painting are weakened, what remains?

I approach this question through negation, as the undoing of determinate form. Painting becomes a way to test how art appears when its ground, image, and objecthood are made unstable. How painting can continue after its traditional support has been weakened.

This thinking returns to Plato’s Allegory of the Cave. I am interested less in the hierarchy between truth and appearance than in the way the shadow exists only through a convergence of conditions: fire, object, wall, distance, and viewer. The image is not self-contained; it appears through a temporary relation of supports.

Drawing also from Tibetan Vajrayana practice, I am interested in visualization as an act of entering a constructed field rather than looking at an image from outside. I understand art as an analogous condition: not as an object to be asserted, but as a field in which presence appears without being fixed. Within this field, viewers are not directed toward a specific image or intention.

From this perspective, art is not a stable object, but a condition of emergence.

They enter, move, notice some elements, overlook others, and gradually settle into a situation where meaning is neither fixed nor possessed. What remains is a minimal, immediate sensibility—something neither fully present nor entirely absent.

presence without insistence, and perception without resolution.