中国古典艺术符号的当代性诠释一直是我绘画创作的主题，我创作的孙悟空、关公、钟馗、楚霸王，都是以京剧作为文化背景来表现的。

虽然我运用的是西方绘画颜料，但是内容和表现手法都深深根植于东方艺术传统，我将其称之为“意象绘画”。这种画法融合了中国传统书法和宋代梁楷为代表的减笔写意画法（《芥子园画谱》中称之为“极写意”），同时借鉴了德国表现主义、抽象表现主义等西方艺术流派的成果。西画那厚重的肌理和明丽的色彩给予了绘画更多的可能性，除此之外，我在绘画中也融入了书法的意象，使得线条在抽象与具象之间幻化、凝聚。

在绘画过程中，我对笔触本身的表现力越来越感兴趣，这或许源于我的东方艺术传统基因。我发现，相较于书法的线条，西画的痕迹在物质性、空间性、意象性方面更具优势。于我而言，真正的绘画是从我动用直觉捕捉“痕迹的表情”开始的，我独特的“竹笔”也正是为了表现变化极其丰富的笔触而出现的。

这 30 多年来，画画一直是我个人的事情，大众对我的作画过程知之甚少。一次偶然的机会，我的写意画法通过短视频的呈现得以放大，激发观者的兴趣。我对笔触偶然性的巧妙整理，也引起了观者共情。我心中的国潮，一定是有着鲜明的中国文化符号的。

传统文化是鲜活的，是有生命的；它是亲切可感的，可以融入当下生活的。我希望在作品中体现出人类共同的情感体验，展现出生命极致状态下忘我的、超然的、高亢的、激越的人物形象。

绘画于我而言，不仅是寻找一种存在感，更是一种表达方式。而表达的前提是感知和思考，在“循序”的过程中，“渐进”地找寻自我、认清自我，体悟人之为人身处思想、意识牢笼的困顿，顿悟人之为人挣脱思想、意识束缚的畅达。因此，绘画是渡我到达彼岸之舟。在作画过程中，人入画、画入人，物我两忘，自由自在，抵达本真，即是我性灵层面的执着追求。

The contemporary interpretation of classical Chinese artistic symbols has consistently been the central theme of my work. My depictions of Sun Wukong, Guan Yu, Zhong Kui, and Chu Bawang are all manifested through the cultural lens of Peking Opera.

While I utilize Western pigments, my content and techniques remain deeply rooted in Eastern traditions—a style I define as "Imagery Painting". This approach synthesizes traditional Chinese calligraphy with the "abbreviated brushwork" epitomized by Liang Kai of the Song Dynasty (termed "Extreme Freehand" in the painting book of the Mustard Seed Garden), while also drawing upon achievements from Western artistic movements such as German Expressionism and Abstract Expressionism. The heavy textures and vibrant palettes of Western painting offer boundless possibilities; yet, I infuse the "spirit-image" of calligraphy into my work, allowing lines to transform and coalesce between the abstract and the figurative.

I have grown increasingly fascinated by the expressive power of brushstrokes themselves during the painting process, a fascination that may well stem from my Eastern artistic heritage. I have found that, compared to calligraphic lines, the "traces" left in Western painting offer distinct advantages in terms of materiality, spatiality, and evocative potential. For me, true painting begins when I use intuition to capture the "expression of traces." My distinctive "bamboo brush" was born specifically to manifest these rich, ever-changing strokes.

For over thirty years, painting has been a solitary pursuit, with my process largely hidden from the public. My freehand technique was amplified through short videos by chance, sparking a resonance with viewers. My deliberate refinement of the brushstroke’s spontaneity has struck a chord of shared empathy. My vision of the national style must embody distinctively Chinese cultural symbols.

Traditional culture is a living, breathing entity; it is intimate, perceptible, and seamlessly integrated into modern life. Through my work, I strive to reflect universal human emotions, capturing figures in an ultimate state of being—self-transcendent, detached, soaring, and impassioned.

For me, painting is not merely a quest for a sense of existence, but rather a means of expression. This expression is predicated on perception and reflection. Through a process of "disciplined progression," I seek to recognize and redefine the self—to feel the confinement of the human condition within the cage of thought, and to experience the liberation of breaking through those ideological chains. Thus, painting is the vessel that carries me to the "other shore." In the act of creation, the artist enters the painting, and the painting inhabits the artist. This state of "forgetting both self and world" —to arrive at one's true nature—is the persistent spiritual quest of my life.