Since 1990’s, I created series of large works  such as Life, Black·White, Loess, Yin·Yang, Heaven·Earth, Square·Round and Space·Time, these works were created during my study in Germany in 1991 and implied the transition from the village style. When I studied new western expressionism artists, I found a chance to get rid of confusion. Life series were created when I just arrived in Germany. I took the abstract drawing as the energy of life to reflect, which enables the  life to be reflected through unconscious creation. People can feel the life  force through the drawings and create a spirit world in instinct, and force of life will resound in the universe. I tried to create a kind of vitality and force, a kind of life conscience or condition that is impetuous in the female,  as well as a human spirit that strives to break tradition. Black·White series, combining two abstract languages “cold” and “hot”, were created from the opposing ＆ unifying factor of Chinese philosophy.

And the two series expressed a kind of deep life on the basis of self-appreciation on art experience, which enables people  to feel the always released force and energy, and this is what life means. The nerve of nature is the origin of life, and it is bound to introduce the  audience to a kind of ambit, involuntarily accepting the passion and surge of the nature.

Loess expresses my personality, and it provided a chance to innovate vision topics, as a result, I designed the yellow  as the basic color of the drawing. And the loess constituted the background, which not only turned the horizontal space to a deep space, but also built the  loess as the faint memory through the front and back relationship. Under such case, life impulsion was changed into a symbol-like cultivation for national  spirit, and such progress provided a chance to feel the national sensibility  through the life experience.

Yin·Yang series present the view of the universe, Yin (Feminine) decides the character and Yang (Masculine) designs the shape, Reason is created by character and impulse is created by shape, Yin is the background of shadow and Yang is the reality, Yin is the base and Yang presents the change, change can be practiced when the base is established, The drawing reflects the transferring in the contradiction of Yin and Yang, and is developed into a deep and prosperous vigor and condition. In the drawing, white takes an unstable from and presents the balance between the square and round, which forms the distorted extension and conflict. It constitutes and separates its pattern, and reflects the nature of Yin and Yang to full extent through ease and verve nature. Heaven·Earth series adopt the appearance of drawing, but were made by pure media. Here, media is not only the media for visual tension; itself is also a symbol or carrier of culture. When selecting rice paper and ink, I tented to choose Chinese traditional ones, and such natural appetency indicates the symbol of subject is with a certain potential, and it is even the symbol for the existence of medial. When creating the symbol for Heaven·Earth series, a huge round takes the whole square menu, and there is also a strict square in the middle of the round. Here, the introduction of Chinese ancient coin should thank to the comprehension to Taichi, in which Chinese traditional view of universe is reflected through the harmonious and contradiction of Yin  and Yang. On this huge pattern, it dedicates to involve contradiction while united factors, such as feminine and mescaline, heaven and earth, dynamic and  stable, male and female, life and death etc. Such “round heaven and square land” pattern contains not only moving clouds, crossing tunnels and furious waves, and what’s more, the square in the middle of round presents a force driven by a compelling quietness, comparing to the universe, as this square is quiet and  peaceful. Such compelling lies not only in the shape comparison between the  round and lines, but also lies in the guidance of culture. And the design of culture can be explained as the observation and ponderation through Chinese traditional ways of thoughts.

Take a general view of above works; people  may feel a circled structure. Every circle and step from material to form contains certain meanings. I also tried to combine the interior feeling of Chinese people with real global feelings, nurturing a personal abstract language with boundless potential, bestowing abstract art with rare spirit in such a non-religion times, and tried to contain the deep meaning and unlimited “spirit” into my works.