I use painting, sculpture and video to draw attention to the inaccuracies between experience and material. I am looking for the interval separating perception and the thing; the space (eg. situational, political, metaphorical) in which misunderstanding and obscurity are unintentional but inevitable factors.
In my practice, I start by mimicking something. The idea of ‘copying’ is positive in the traditional Chinese context - Chinese painters would publicly copy ink paintings of the masters of ancient times. That is also how I was trained as a painter. Although I no longer work like this, this perspective of painting and tradition in China has afforded me new possibilities for the way I think about painting today.
I don't want to say I'm a painter, but I use painting. For me, the site-specific space is a big box, where I place different elements like canvas, plaster, plastic, and foam. The audience becomes another element. I don’t want to say ‘this is a painting,’ but when people come into my show they might be looking at a painting, or they might be part of a painting. I create a space in which you might know something, or you might misunderstand something. I need those inaccuracies to be a part of the work.