T: In your opinion how do your newest works compare with your previous works?
X: The basis is the same with few changes, the most obvious changes that you will see is in the depth of colors. In my previous works the colors were very subdued, which was reminiscent of the works one would have seen in the works of my forbearers. In these works the colors have blossomed to bring a more vibrant feel to my works. My current works also present less torment than in previous works.
After my first solo exhibition I was in a state of self-reflection. Before the exhibition I would only paint through my eyes, but after the exhibition I now saw my works through the eyes of others and their comments and feelings. This experience left me puzzled trying to determine a new method and way for my works.
The topics and layout of the works seem harmonious, yet at the same time you can feel the conflict subtly flowing in the works; other painters can feel a sense of exploration and chaos, success and failures.
T: Do the human subjects of your works still remain as the main focus of the works?
X: The answer to this question is not so simple. When I was in university we were always taught that if your ability to paint a figure was good then you were seen as a skilled student. So even today when I paint I will still pay close attention the figures.
In my current works you will see more portraits, though as time goes by you will notice that these portraits will diminish.
T: In your paintings do you use models for your subjects?
X: I do not use models in my works, instead the figures are self-creations. The figures will always start as a plain figure, through the creation of the work the figure begins to blossom until what you see in the final work leaving me with a deep sense of self-satisfaction.
T: Are your figure’s influenced by the Chinese painting style?
X: I feel the Chinese influence is not as prevalent as in previous works.
T: Will your works continue to be influenced by the Chinese style of painting?
X: In my opinion it is very important since it helps to maintain our cultural identity. Unlike others styles which work well in stereoscopic views, the Chinese method is best suited to two dimensional views which are natural for me.
T: We can feel from viewing your works that the story is left open and incomplete, do you do this intentionally?
X: Story telling is not my intent, I have never enjoyed story-telling and in painting you have to express something. Even though in Chinese paintings there is always a story, I am working for as minimal of a story as possible.
T: In a number of your painting you show hands, whose hands are depicted in those works?
X: Some of the hands belong to friends and some to me, but all of them are adjusted by me so that they never show weakness.
T: Do the hands represent a metaphor in your works?
X: The hands have no metaphor’s, they only represent parts of the body. Since hands a neutral, we can use them and background combinations to represent implied emotions.
T: Are the changing postures representing different messages in your works?
X: When you add a second hand the message, posture and feelings portrayed become richer and full of depth.
Description is the corner stone of a work
T: What is the most important thing to you when creating a work?
X: The most important thing differs from art form to art form: In photography memorializing is the core, in film successful narration is the core and in painting being descriptive is the core. So in my opinion the closer you come to the core the closer you achieve the purity of the work.
T: How would you describe your journey in achieving purity of the work?
X: I think it is more important to develop your own voice to express even if it is a simple story, rather than use a common voice to express a complex story. So in this pursuit you have to express through the common voices until your true voice begins to develop into what you are chasing.
T: In your opinion do you think painting is an existential state of being?
X: (Warm Smile) Painting is my life.
T: When you are creating a work are you influenced by your personal feelings?
X: Slightly, you need to understand that painters are always pursuing purity of work. Despite the results of the work the ultimate goal of the artist is the achievement of purity. When you are creating, the longer the creation period is, the more in-flux the work will be until completion. We are told that when we paint we need to be centered. This process of centering might be different from the processes used in the West, here we are always asked to create in a state of centered.