The snow condenses the air, drifting across the silent forest. I try to capture this quiet moment by recording the tranquil surroundings. My imagination conjures up a vision of vagrancy in such an unknown territory. I enjoy the stillness and placidity in the solitude of the snow-covered forest, whereby my poetic imagination is sparked. Grey is the very color of this poetic tranquility.
We strive to grasp the patterns of the landscape visible from a commanding height with our experience, perception and contemplation. As a response to external stimuli, my knowledge and understanding are internalized as a mental image which is then transformed into a landscape-painting through artistic creation. I not only look at the landscape but also care for the landscape.My perception has come full circle to the point where it began, reflecting the landscape-painting in my mind. The reflexive internalization of the connections between our innermost self and the external world represents the close liaison between our encrypted sentiments and the physical world. The intimate venue harboring our spirit and sentiments dictates our perception of the external world. Our reflexive sentiments run high when we are admiring the landscape. When analyzing the nature and the world with our limited experience, we seem insignificantly small by contrast, and ergo our sense of loneliness is intensified. At the junction between tangible landscape and intangible mind, I create a poetic borderline, wherefrom the viewers find the quiet solitude over the horizon of their line of sight.
Departing from the geographical and cultural identities of my family of origin, I set out on a journey collecting fragmentary images scattered across natural and humanistic landscapes. These collected fragments not only provide me with a new understanding of the local but also outline the vision of my artworks. I keep immersing myself in unfamiliar surroundings, enjoying the unique atmosphere personally. When making observation and wandering along the border, we are desperate to know our whereabouts out of sheer inertia, which is why I pay particular attention to the overlapping area of natural and humanistic landscapes. This is a necessary practice of mine as a voyager along the borderline. What I attempt to conjure up in my paintings are the nostalgic memories and atmosphere of the passing “here and now” of the local, or even the re-adjustment of those memories. These messages give the original scenery a new lease of life, which implies that revisiting a place embodies the codominance of our sensory tangibility and intangibility.
Such scenery appears unexpectedly before my eyes. My perception reshaped by my memories not only leaves me uncertain as to what I portrayed in my artworks but also sets me out on a solo voyage into the unknown. Such a noiseless state is so quiet that devours my own unobtrusive Dasein.
*The term “border” refers to the intangible lines that geographically demarcate different territories. It does not carry commemorative or any other specific implications.