在这几幅作品中，我尝试用京剧“打旋子”的技巧来表现孙悟空的动势、招式特点乃至内在神韵。在画面中，一招一式的虚实相生，刚柔相济，几乎化于无形。这种处理方式是为了弱化图解式的简单再现，避免僵硬轮廓和环境之间的割裂感。

形式上，我借鉴了未来主义的手法，将快速的身体变化转换为具有时间流动性的图式构成，那些围绕着身体的残像仿佛要将观者吸引进去，随着悟空一起旋转。

在作品中，我越发注重笔触的表现力，试图让画面展现出宇宙生命的大节奏和大韵律，诠释大象无形的艺术境界，进一步体现天、地、人相融共生，一体万象的哲学观。

In these works, I have attempted to employ the Da Xuanzi (Whirling Leap) technique from Peking Opera to manifest Sun Wukong’s dynamic momentum, his martial prowess, and his inner spiritual resonance. Within the frame, the interplay of the substantial and the void, the fusion of strength and suppleness, nearly dissolves into formlessness. This approach is intended to move beyond simple, illustrative representation, avoiding a rigid severance between the figure’s silhouette and its environment.

Formally, I have drawn inspiration from Futurism, translating rapid bodily movements into a schematic composition characterized by temporal fluidity. The afterimages encircling the body seem to draw the viewer inward, inviting them to whirl alongside Wukong.

In my recent creations, I have placed increasing emphasis on the expressive power of the brushstroke. I strive to let the canvas reveal the grand rhythms and cadences of cosmic life, interpreting the artistic realm where 'the greatest form is formless.' This further embodies a philosophical worldview where Heaven, Earth, and Humanity converge in harmony—a singular essence manifesting in ten thousand forms.