How should I put this? I was a very introverted child growing up. I had little interest in my studies, and I found it difficult to invest significant passion or patience in any single activity.

However, I have loved drawing since childhood; whenever I sat down to draw, I would become completely immersed in the work—losing all track of time. As I gazed at my own drawings, I would begin to meticulously analyze every element: the imagery, the composition, the color palette, and so on.

I realized that I was becoming increasingly absorbed in the creative process. I began to understand that this was the only pursuit in which I could sustain my passion over the long term. Perhaps this is my true calling.

I begin by visualizing in my mind the subject I wish to paint. I enjoy using figures as vessels for inspiration—distorting and exaggerating them to give voice to my own emotions.

I feel the need to channel and release my abstract inner states through a tangible medium within the composition.

I repeatedly refine the design of both the figures and the overall composition, working through countless iterations on my sketchpad. While the inner state conveyed by my art is abstract in nature, I strive to express it through a rational and deliberate approach.

Initially, I struggled to adapt to the technical challenges I faced. It was, perhaps, the most frustrating experience of my life. I attended PAFA—an institution with a particularly strong and traditional focus on painting. During my senior year of college, I began experimenting with a more expressive approach to painting. Countless intriguing images would flash through my mind, but they were fleeting—gone in an instant, making them incredibly difficult to capture.

I would often pick up my brush and begin to paint on paper, but the process would invariably come to an abrupt halt, simply because the mental image had vanished as quickly as it appeared. I yearned to translate those images from my mind onto the paper, yet whatever I managed to paint always felt incomplete—as if something were missing. I found it nearly impossible to ever feel satisfied with the results.

To break through this creative block, I began carrying a sketchbook with me everywhere I went. I drew every day, attempting to capture those fleeting mental images within its pages. My sketches were filled with scribbled patterns and textual notes—reminders to myself of what the image looked like and how it ought to be rendered.

Yet, I still struggled to translate those abstract ideas into concrete visual forms.
All I could do was keep trying my very best.

It is a very common occurrence for viewers' interpretations to differ from my original intentions.

My oil paintings are deeply personal; they serve as vessels for my emotions. This is particularly true right now, as my artistic style and the specific details of my compositions have not yet fully crystallized.

Throughout this process, I am constantly questioning and challenging myself; I lack confidence, yet I strive diligently every single day. My primary objective—my greatest task—is simply to be satisfied with my own work.

What I most hope my audience understands is that my oil paintings are works created to my own satisfaction. The expression within my art serves as a vehicle for my own emotions.

My work, 《March 13th, 2024》, is an oil painting depicting my menstrual cycle. Women—specifically the female nude—have consistently been the central subjects of my paintings. I enjoy portraying the fragile and delicate facets of the female soul.

Menstruation has long been a deeply private subject—one that people often shy away from discussing openly. Through this painting, I aim to use the medium of oil paint to reveal this sensitive and intimate aspect of womanhood.

My primary goal is to create an oil painting of a femalefigure that reflects my emotional state. This subjectmatter has consistently been the focus of my artisticpractice. Above all, I hope that when viewers look atmy paintings, they can recognize that they serve as anexpression of my inner emotions.

It simply depends on the specific emotion I wish toconvey. The way a character's posture is twisted—andhow it is paired with the overall color palette—servesentirely to heighten the visual impact of the image.

I definitely noticed. I think it's because I didn't have agood idea of how to express my emotions more fullyand vividly.