born, then raised in Chengdu until 2017.

the neighborhood I spent my childhood is called West Zitong Bridge Street.

my practice begins with painting and the material behavior of acrylic. Acrylic medium forms a self-supporting surface, allowing paint to hold itself in space 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; how painting can continue after its traditional support has been weakened.

as I approach this question, painting becomes a method to test how art appears when its ground, image, and object-hood are made unstable.

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

Tibetan Vajrayana visualization, as I explore it, informs this thinking: an act of constructing a field while reconstructing oneself within it. from this perspective, I then understand art as an analogous condition.

…they enter, move, notice some elements, overlook others, and gradually settle into a situation where nothing fixed: a field in which presence appears as frame-by-frame acceptance, a minimal, immediate sensibility, something neither fully present nor entirely absent.

..presence without insistence, and perception without resolution..

…through continuous negation - the undoing of determinate form…

I can hardly say people regard me as a painter, but I continue to think through the self of being a painter.

2026.07.30