wrestling with (my God!) my God.jpg

Painting

Inspired by James Joyce, I am interested in creating a visual encyclopedia that “turns a painful reality into a comic irony”.

Riverrun;Mixed Media on Yupo; Diptych 108”x120”; 2018-2019

The left panel is based on the structure of Guo Xi's painting (Chinese landscape painter 1020-1090); the right panel is based on Fan Kuan's painting (Chinese landscape painter 960 – 1030)

Anomie; Mixed Medial on Evolon; Diptych 160”x100”; 2019

Left panel is based on the structures of Persian miniature paintings (The Shah-nameh of Shah Tahmasp); Right panel is based on Saint Jerome Reading by Bellini

“My Age, My Beast”; Mixed Media on Evolon; Diptych 160”x100”; 2019

The left panel is based on the structure of photograph by Josef Sudek, Still-life, 1968, and the right panel is based on The Death of Sardanapalus by Delacroix. This painting is also an experiment in breaking the boundaries among traditional genres (still-life, landscape, and figure).

“Silent, upon a peak in Darien” ; Mixed Media on Yupo; Diptych 108”x120”; 2019

The left panel was based on Chinese Yuan Dynasty painting by Wang Meng "Ge Zhichuan Moving his Dwelling" and the right panel is based on "The Whore of Babylon" by Dürer.

Wrestling with (my God!) my God; Oil Pastel and Acrylic on Yupo; 70”x60”'; 2019; Based on Pierre Bonnard’s  Interieur

Wrestling with (my God!) my God; Oil Pastel and Acrylic on Yupo; 70”x60”'; 2019; Based on Pierre Bonnard’s Interieur

Bed-Stuy Boogie-woogie V;  Oil pastel and Acrylic on Evolon; 40”x80”; 2019 Based onEl Greco’s Baptism of Christ

Bed-Stuy Boogie-woogie V;
Oil pastel and Acrylic on Evolon; 40”x80”; 2019
Based onEl Greco’s Baptism of Christ

Bed-Stuy Boogie-woogie VII; Oil pastel and Acrylic on Evolon; 80”x60”; 2019

Bed-Stuy Boogie-woogie VII; Oil pastel and Acrylic on Evolon; 80”x60”; 2019

Bed-Stuy Boogie-woogie V;  Oil pastel and Acrylic on Evolon; 40”x80”; 2019 Based on The Annunciation by El Greco

Bed-Stuy Boogie-woogie V;
Oil pastel and Acrylic on Evolon; 40”x80”; 2019
Based on The Annunciation by El Greco

Chinatown Oil pastel and Acrylic on Evolon; 40”x80”; 2019 Based on El Greco, The Adoration of the Shepherds, 1612-14

Chinatown
Oil pastel and Acrylic on Evolon; 40”x80”; 2019
Based on El Greco, The Adoration of the Shepherds, 1612-14

“Silent, upon a peak in Darien” (detail)

Between the Shadow and the Soul Oil and pastel on canvas 24x24 in; 2017-2018

The Fission of Being
Mixed media on paper
8x15 ft
2017
Collaborated with poets and writers: Angela So; Annpo YiYing Huang; Cady Vishniac קײדי װישניאַק ; Erin Schalk; Len Lawson; RN Healey; Rangi Lamar McNeil; Skye Anicca Orr; Wendy Oleson

(From left to right)

I.The Hidden Dimension and Other observations No.112(left wall), Ink on paper, 100”x96”

II.The Hidden Dimension and Other observations No.156 (left two panel on the front wall), Ink on paper, 96”x105”

III.The Hidden Dimension and Other observations No.157 (Middle one panel on the front wall), Ink on paper, 60”x101”

IV.The Hidden Dimension and Other observations No.150 (right two panel on the front wall), Ink on paper, 96”x100”

V.The Hidden Dimension and Other observations No.102 ( the right wall), Ink on paper, 96”x85”

The Hidden Dimension and Other Observations No. 150, 2016-2017; ink on paper; 96”x100”

The Hidden Dimension and Other Observations No. 134, 2016-2017; ink on paper; 48x96 in.

The Hidden Dimension and Other Observations No. 155, 2017; ink on paper; 48 x 36 in.

Lu Chai 鹿柴 2018, Mixed Media on Yupo , 60” x 86”

“Lu Chai” is a Tang Dynasty poem by Wang Wei (c.700-761), a Chinese buddhist painter, calligrapher, and master poet. The image of emptiness is usually considered essential in such poems, but for me, there is intangible chaos in its luminous void.I started this painting after a trip to Xi’an, the capital of Tang Dynasty, where I was enlightened by the ancient structures, poems and tomb murals.

For a breath I tarry; Oil Pastel and Acrylic on Evolon; 20”x30”; 2019

Anomie (detail)

Anomie (detail)

“Silent, upon a peak in Darien” (detail)

Salto Mortale (detail)

Lu Chai 鹿柴 (Detail)

“Empty Mountains:/ no one to be seen./ Yet-- hear --/ human sounds and echoes./ Returning sunlight/ enters the dark woods;/ Again shining/ on the green moss, above.” (translated by Gary Snyder 1978)

Salto Mortale (detail)

Bed-Stuy Boogie-woogie I; Acrylic on wood; 18”x24”; 2019

Bed-Stuy Boogie-woogie II; Oil pastel and Acrylic on wood; 18”x24”; 2019

Bed-Stuy Boogie-woogie III; Oil pastel and Acrylic on wood; 18”x24”; 2019

Bed-Stuy Boogie-woogie III; Oil pastel and Acrylic on wood; 18”x24”; 2019

Past Continuous 2017-2018, Mixed Media on Yupo, 60” x 86”

In this painting the artist use the ancient Chinese calligrapher Huaisu’s cursive script of an Indian Buddhist Sutra (Sutra of Forty-two Chapters) to fabricate a pictorial landscape space. This painting is also an experiment in breaking the boundary between genres (landscape and abstraction).

1st layer of Past Continuous a copy of Huaisu’s Cursive Script (737–799)

1st layer of Past Continuous a copy of Huaisu’s Cursive Script (737–799)

“Tell All the Truth But Tell It Slant”. 2017, Oil Pastel and Oil on Canvas, 24x36 in

I used to live very close to upper Central Park where I walked and sketched almost everyday. The space of that area evoked my childhood memories of living in a traditional southern Chinese house, which is also in some way relevant to my impression of modern dance choreography.

The Hidden Dimension and Other Observations No. 135, 2016; ink on paper; 80” x 120”.

Entanglement: Trial 0, 2016-2017; ink on paper; 48 x 36 in.

The Hidden Dimension and Other observations No.107, Ink on paper, 24 pieces of 24x18 inches

The Hidden Dimension and Other observations No.107, Ink on paper, 24 pieces of 24x18 inches

The Hidden Dimension and Other observations No.171, 2016, Ink on paper, 48"x18”"

The Hidden Dimension and Other observations No.171, 2016, Ink on paper, 48"x18”"

The Hidden Dimension and Other Observations No. 129, 2016; ink on paper; 60 x 30 in.

Anomie (detail)

Riverrun (detail)

“Silent, upon a peak in Darien” (detail)

“Connoisseur of Chaos” 2017-2018, Mixed Media on Yupo , 60” x 86”

A self-portrait from direct observation, also based on the structures of self-portrait paintings by Da Vinci, Rembrandt, Cezanne, and Picasso. This painting is as well an experiment in breaking the boundary between genres (landscape and portraiture).

Like the Udumbara Flower;2018, Mixed Media on Yupo, 60” x 86”

“Only very rarely do the Buddha Tathāgatas teach such a True Dharma as this, as rarely as the uḍumbara flower blooms.“—The Lotus Sūtra

Like the Udumbara Flower (detail)

The Hidden Dimension and Other Observations No. 133, 2016-2017; ink on paper; 60x96 in.

Salto Mortale 2018, Mixed Media on Yupo, 60” x 86”

“Salto Mortale” means a dangerous and daring jump with possibly lethal outcome. It reflects my feeling while painting the chaos -- like walking the tightrope between visual dynamics and pandemonium. It also records my summer experience in a residency in Norway where I jumped into the deep cold sea to learn how to swim.

The structure of this painting is based on Géricault's "The Raft of the Medusa". “Salto Mortale” means a dangerous and daring jump with possibly lethal outcome. It reflects my feeling while painting the chaos -- like walking the tightrope between visual dynamics and pandemonium. It also records my summer experience in a residency in Norway where I jumped into the deep cold sea to learn how to swim.

The Hidden Dimension and Other observations No.109, 2016, Ink on paper, 48"x115"

The Hidden Dimension and Other observations No.109, 2016, Ink on paper, 48"x115"

The Hidden Dimension and Other Observations No. 102, 2016-2017; ink on paper; 96”x85”.

The Hidden Dimension and Other observations No.158, 2017, Ink on paper, 60"x84"

The Hidden Dimension and Other observations No.158, 2017, Ink on paper, 60"x84"

The Hidden Dimension and Other observations No.159, 2017, Ink on paper, 60"x83"

The Hidden Dimension and Other observations No.159, 2017, Ink on paper, 60"x83"

Entanglement: Trial 4, 2016-2017; ink on paper; 110x120 in.