light blue flower

I observe the plumbago flower from multiple angles, first creating a physical three-dimensional model to establish its structure and spatial relationships before proceeding with the artwork. Through this modeling process, I enter the center of the flower and its various layers for close, microscopic observation. The petals are rendered using a grating motif to represent blooming states at different moments in time, allowing multiple temporal layers to coexist within a single image.

My artistic practice begins with the belief that our perception of the world is a projection of consciousness. In moments of hardship or despair, the world may appear dim, yet it has not truly changed—what transforms is the lens through which we perceive it. By shifting perspectives, obstacles loosen; by stepping beyond the boundaries of one’s own awareness and embracing other viewpoints, deeper layers of truth emerge. At the core of my work lies the conviction that when the heart holds love, light and hope will inevitably follow. I frequently employ the motif of the “grating” as a symbol of temporal synchronicity, a visual language through which I explore the existence of higher-dimensional beings and the unseen interconnections of reality.

I have personal depictions and insights into things that transcend three-dimensional space. High-dimensional things in my paintings have uncertain shapes and have the synchronicity of different timelines. This is also why they can visually be between presence and absence. Between the feelings, I try to propose subversive visual thinking to challenge people's objective depiction of the real world and propose the possibility of another new vision.