Artist statement

“Something is uncanny — that is how it begins. But at the same time, one must search for that remoter ‘something’ which is already close at hand.”
— Ernst Bloch, The Principle of Hope (1954)

My artistic practice is a continuous observation of the state of "living." Through the explosive and unpredictable act of splash-ink (泼墨), I seek to capture the process of "Becoming" — the transition of all things from chaos to order, and from individuality to symbiosis.

This creation unfolds through a material dialogue between diverse supports. Raw Xuan paper, with its extreme sensitivity, records the subtle infiltration of moisture, mimicking the semi-permeability of biological membranes. In contrast, large-scale canvases provide a monumental arena for the flow of ink, allowing the interplay of gravity and tension to manifest the possibility of matter transcending physical borders. This exploration is a physical manifestation of the Taoist principle of "Wu-wei" (non-action); rather than exerting absolute control, I invite the medium, the ink, and gravity to co-author the work.

Inspired by the concepts of "uncertainty" and "superposition" in quantum logic, I view the act of creation as a manifestation of probability. Within my compositions, splashed marks exist in a zone of scalar ambiguity: they appear simultaneously as microscopic cellular growth and macroscopic nebular evolution. This visual "overlap" challenges the rigid definitions of boundaries found in modern narratives. Through the fluidity of ink, I strive to reclaim a posthumanist landscape—one that is interconnected, mutually causative, and transcends a single cultural perspective.

The fluid, tissue-like ink formations in my work are more than aesthetic explorations; they are expressions of ‘Abjection.’ By blurring the lines between interior and exterior, self and other, I investigate the non-fixity of identity. This is a narrative that rejects labels, instead embracing a self that is constantly permeating, overflowing, and reconstructing.

Naturally, this visual inquiry is overflowing from the two-dimensional plane into a three-dimensional field. This is not merely a formal shift, but an eruption of the internal kinetic energy of ink breaking through its boundaries. Grounded in a long-term contemplation of the physical presence of work, I seek to deconstruct the constraints of the frame, allowing the ink to breathe directly with the environment. Through the intervention of light, gravity, and the transparency of media, I aim to construct immersive sensory environments—where the viewer is no longer a spectator, but an observer inhabiting a dynamic process eternally in a state of ‘Becoming.’

我的艺术实践是对“生命状态”的一场持续观测。通过泼墨（Splash-ink）这一极具爆发力且不可预测的行为，我试图在画面中捕捉万物从混沌到秩序、从个体到共生的“生成（Becoming）”过程。

这种创作在不同特质的支撑体上展开对话。生宣纸以其极高的敏感性记录水分的微妙渗透，模拟生物薄膜般的半渗透状态；而大尺寸画布则为墨迹的流动提供了宏大的叙事场域，使其在重力与张力的博弈中展现出物质跨越边界的可能。这种对材料的探索，是我对“无为”思想的物理实践——我不再试图绝对控制画面，而是邀请媒介、水墨和空气湿度还有重力等共同参与这场创作。

受量子逻辑中“不确定性”与“叠加态”的启发，我将创作视为一种概率的显现。在画面中，泼洒的痕迹往往处于尺度的模糊地带：它们既呈现为微观的细胞生发，又如同宏观的星云演化。这种视觉上的“重叠”挑战了现代叙事中对于事物边界的僵化定义。通过水墨的流动，我试图找回一种互联共生的、超越单一文明视角的后人类主义图景。

那些如同流体、生物组织般的墨迹，不仅是审美的探索，更是一种关于“卑污性（Abjection）”的表达。通过模糊内部与外部、自我与他者的边界，我探讨身份的不可固定性。这是一种拒绝标签的叙事：拥抱渗透、溢出与不断重构的自我。

这种视觉探索正自然地从二维平面向三维场域溢出。这并非单纯的形式转换，而是水墨内在动能对边界的突破。基于对作品物理呈现的长期思考，我试图解构画框的束缚，使墨迹与环境产生直接的呼吸。通过对光影、重力以及媒介透明度的介入，我旨在构建一种浸润式的感官环境——在这里，观众不再是旁观者，而是以身体作为观测点，栖息于这一永恒处于“生成”之中的动态过程。