孙悟空最让我痴迷的是他的七十二般变化，这种千变万化就像我在绘画中运用的色彩。通过砸、甩、写等方式将颜料呈现在画布上的过程，本身就是变化的过程。这些作画的手法创造出美丽的肌理和自然的状态，只需稍加点染，刻画的形象便应运而生，这就是“化”。

为了表现孙悟空七十二般变化的本领，我延续了《石猴出世》中的半流动性的画法。与之不同的是，这次的流动更强调“变”的特质。如果前作表现的是“生”，那么这次的作品则聚焦于“化”。

孙悟空的“存在方式”很多，转瞬间就能变幻出截然不同的形象。我塑造了孙悟空轻盈的身体姿态，同时对其某些部位进行模糊处理，表现出即将变化或演化的前一瞬间。虽然竭力表现变化，但至今我的作品中的孙悟空依然是原本的样子，而非变化后的形态。这在我未来的创作计划中，因为孙悟空一定是要变化的。未来的作品中，一根抽象的线条或者一个随意的点，都有可能是孙悟空幻化而成的。现在的作品只隐藏着一些变化的雏形，至于是如何变化的，就需要细心的读者去发现了。

What fascinates me most about Sun Wukong is his mastery of the Seventy-Two Transformations. This infinite mutability mirrors the way I employ color in my painting. The process of applying pigment to the canvas—through striking, splashing, and calligraphic stroking—is, in itself, a process of constant change. These techniques create beautiful textures and organic states where, with just a few deliberate touches, the intended image emerges. This is the essence of 'Hua'—Transformation.

To express his power of transformation, I have continued the semi-fluid style used in The Birth of the Stone Monkey. However, the fluidity here places greater emphasis on the quality of 'change.' If the previous work manifested 'Birth' (Sheng), then this piece focuses on 'Transformation' (Hua).

Sun Wukong possesses countless 'modes of existence,' capable of shifting into entirely different forms in the blink of an eye. I have sculpted him with a lithe, weightless posture, while deliberately blurring certain parts of his body to capture the fleeting moment just before a mutation or evolution occurs. Though I strive to depict change, the Sun Wukong in my current works remains in his original form rather than his transformed state. This is part of my future creative plan, for Sun Wukong must inevitably change. In my forthcoming works, an abstract line or a casual dot might very well be the incarnation of the Monkey King. My current pieces only harbor the nascent seeds of change; as for how he transforms—that is for the observant viewer to discover.