is self-love spirit from this unpredictable world.
我的作品源自于生活经历中的感受和想象。抽象艺术和肖像绘画都是我的兴趣所在。 Richard Diebenkorn 和Günther Förg 让我更深层次的认识了空间与颜色的关系；Dana Schutz 和Katherine Bradford 用自己的作品讲述的故事在表现技巧上启发了我。
The feeling and imagination of life experiences is the muse for all my artwork. Both figure painting and abstract art are my focus of visual art. I reference from Richard Diebenkorn and Günther Förg which makes me explore the space and color, and I learn from Dana Schutz and Katherine Bradford which helps me practice narrative and expression.
出生于“计划生育”国策，作为中国的“孤独一代”，年幼的我时常在孤独中陷入恐惧和焦虑。为了摆脱孤独带来的负面情绪，我从父母八九十年代的流行音乐和迪斯科音乐磁带中得到了许多欢愉与慰藉。“二手纪念品”系列是我以视觉艺术形式对这些音乐的再次诠释。 我用从服装设计系收集的废旧布将这些老歌带给我的感受转换成不同触感和形状的色块，模仿不同乐器在同一旋律下相互纠缠升华的效果，将他们编织组合在一起 。 而这些这些老歌也犹如这些废旧布料——曾是时尚的一部分，而却在时代的变迁中失去了价值.
Born in the age of China’s “Only-Child Policy”, I grow up in the “Lonely Generation”, I was a kid struggling with fear and anxiety, always trying to escape from the overwhelming feelings of loneliness. Music became an escape, listening to my parent’s tapes of 1980s’ Chinese pop and disco music; I indulged in a relaxing and pleasurable spiritual resonance. “Secondhand Souvenirs” is a series focusing on the mechanics of reallocating old memories and emotions fostered by these vintage songs and weaving them into a visible and tactile art form. Timeworn and abandoned fabrics found in the Fashion Department of SAIC become woven in pattern and begin to mimic the rhythm of instruments; the numerous overlapping configurations cooperate to create a melody. Playing off the timeline, the discarded cloth assembles a metaphor, the old songs are born in fashion and eclipse in fashion.
学习的旅程从中国到芝加哥。 在这座巨大的城市中探索学习，高耸的水泥森林和匆匆而过的人群让我发现童年时的孤独其实一直如影随形。芝城的每一处风景都像童年听到的迪斯科音乐一样，给我带来了心灵慰藉。这样的心路历程很自然的将我的作品从对音乐的视觉重现推向了对我对城市印象的再现。“印象·芝加哥”就这样自然而然地诞生在了我对城市生活的思考中。这部分作品其实是每一个现代化城市的剪影， 我试图通过这些作品重现我对芝加哥的最直观的印象。 大量深蓝深紫色的运用是我对这座城市孤独基调的如实陈述。 霓虹色的软纱则展现了城市中人们生活的痕迹，它是市区的万家灯火，是露普飞驰而过的地铁，是绚烂的新年焰火。点亮了都市人短暂而脆弱的欢愉，也衬托无处不在的寂寞。
Coming from China to study in Chicago, deeply impacted the conflict between a city filled with people and indifferent human relations which made me feel lonely again. What I found much to my surprise, was the same deadening loneliness that I felt as an only child (trying to experience any sort of pleasure in life) had followed me to Chicago. The sense of loneliness became the motivation for the high pitched 80’s disco records that my parents danced to. Thus, I pushed my fabric work into my impression for Chi-town, narrate my intuitive feeling of this city. “Chicago Impression”, was an initiation into my journey of tasting loneliness. The dark blue and deep purple denote the significance of the cities’ lonely disposition. The neon tulle represents how the quotidian wraps itself in the countless dreams of city dwellers and the joyful prospects that are awaiting amongst the cities lights. The lights shining from on Michigan Avenue to the Hancock Tower simultaneously illuminate and expose the common emptiness.
Trapped in the tide of rapid modernization and urbanization, the impetuous social culture reveals the normality that is living in loneliness is already normality in the modern world. I found that when we look loneliness in the eye and accept it for what is, we are able to use it to our advantage as a shortcut for self-discovery. I approach the series of paintings, “Inner Wonderland” from a spectator’s perspective. In this way, the negative effects of reality are reduced to an almost imperceptible level. The fairytale voiceover I have adopted within this series highlights the positive impact of loneliness. This is especially apparent in the painting, “Refresh”, where I was inclined to weaken the sexual implication in order to enhance a ritualized sense of introspection. Plants have also become intertwined as visual markers of private territory and safety throughout this series. Mushrooms even sneak in as markers of the deviant and sexual side of interpersonal relationships; corresponding to puppets that are an interpretation of hypocritical affection. As another part of my interest, the figure painting is a greatest satisfy of my expressive desire of the figurative details.
（To be continued）