In search of something poetic integrating painted images with raw materials, the starting points of my work are objects which are generally available in my studio, e.g. primed or unprimed canvas, used or crumpled masking tape, aged or fragmental pieces of paper, charcoal, pencil, acrylic and oil paint. By rearranging these ordinary materials, various projections or associations can be generated by virtue of artistic transformation. As Francis Picabia defined, ‘The painter chooses something, and then he imitates what he has chosen, and finally deforms it. This last is where the art lies.’ (Francis Picabia, 1921)

All images I created are synthetic. They repeatedly evoke a number of realist conventions such as mediation of light and shadow, close scrutiny of object and true-to-life appearance. A sense of palpable vividness in my paintings invites the viewer into an immediate perceptual reality. Yet, during the process of ‘seeing’, the intuitive impression from looking at such verisimilitudinous combination of painted images and raw materials may soon be challenged – by realising that the material surface is simply a two dimensional picture, a trick of the eye. What you see does not always reflect what is true. For another level of interpretation, the optical illusion reveals the meaninglessness of obsession with the appearance of image.

Each of my painting expresses an episode of my feelings or imaginings which is intangible and dreamlike. However, such intangible imagery is keen to communicate with the viewer’s imagination and memory through its tactile quality.