The art practice I pursue explores the properties and behaviours of materials, especially water and Chinese black ink. Most of my works let materials to perform on themselves with a simple help from my hand gestures and the flexibility of Chinese brush. Inspired by the Gutai Art, QinFeng, Vay Hy and many other artists, I seek to capture the ‘living state’ of materials by recording the process of them pushing, combining, diluting, melting, flowing and deforming. The rhythmic result or process is always unpredictable and somewhat peaceful at the same time.

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The nature of water, a substance without fixed form that is open to outside influences, makes it commonly used in many processes of art making. Water was utilised effectively due to its easy availability, but always overlooked as a material in art creation. Today, artificial water flows from the huge dams to power stations through pipes, then into man’s homes. The soul and spirit of this element faded as man learned to alter the physical nature of water for technical usage.

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Ink plays a very important and deep role in the East Asian artistic culture. The unique texture of Chinese ink which comes from combining good glue and lampblack or soot does not fade easily even after centuries of display. The water-based ink in traditional Chinese art holds an aesthetic value in art appreciation through such a long period, as if it refuses to give in and settle in history. 

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The reason behind why these are my favourite materials is because I feel connected to them. Water and ink stands strong in the root of Chinese culture. It was the Chinese culture which built my identity till this day. Both materials contain the soul and morality of two millennials deep culture.