I work out of emotional catharsis. It arises from things that trigger me and over against which my barren words can do little. Some suddenly sparked whimsy, the ending of an unsatisfying story, the recurrence of dreams that evoke anxiety. I define my sensibility as a private perspective driven by a growing self-identity and a cherished sense of femininity.
I paint because putting a trace on a surface is all I need. I use a thin coat of colour intending to keep the genuine texture of the canvas visible and diffuse the mood with a sense of reality. It is susceptible for me to be touched by the subtle objects and thoughts during daily life. I collect and season them with personalised fantasy, reformulating them into metaphorical and symbolic presences.
My work Fountain of lions and persimmon branches from homeland is a nostalgic piece that I put together as I go along. While strolling through Regent's Park, the sound of the fountain tickling evoked memories of the persimmon trees by the river in my hometown, and a bright church window from a past summer's journey. I intercepted, collaged, and assembled them in a scene in which spatiality, causality, and purpose are deliberately muted. Due to their importance in human rationality, honestly abandoning them is like abandoning thinking about the existence of the ego in the context of social relations; the viewer is then freely able to establish an emotional connection to the experience of the own self in a way that is not externally defined. This way, I create a scene that audiences can safely dwell in and let the mood drift.