Distinguishing from two-dimensional art, this is an alternative aesthetic initiation, in which the thoughts of paintings no longer preoccupy themselves with depictions and interpretations of visual representation. Instead, experiences with diverse multi-media have enabled the identification and re-orientation of a number of subject matters, by various means of mediation such as installation, photography, performing arts, videos and films. While the meanings of paintings are being explored, attempts are made to ‘perceive’ from the viewer’s perspective and stance, in the explication of the reason and intention of painting, and subsequently to appreciate the principles of creation and its nature. In last series was once done through manipulating twisted frames and shrunken canvases to reflect the dynamics as well as relationships between the creator, the materials for creation, and the works of creation. With creation, three principal elements were brought about as an “organic” presentation, rather than a chemical formation. Frames of varying thicknesses are used together with glues, whose properties facilitate the completion of an organic work of creation that retains the material characteristics of painting materials. Experimenting with different ways of manipulation and application, an idiosyncratically personal scheme of painting was thus developed.

The series of works in “Reproduction—Representation” try to explore visual representation of paintings. What becomes of the representation is the initial intention of painting, which begins with active exploration for pictures to be represented, in the endeavors to retain what is seen and sensed on the painting. On the painting the textures of canvases are meant to be representation. By reproducing one of the most fundamental painting materials (canvas) as the represented work, reproduction exists as part of the representation; it is also the extension, reflecting a continuity that is strong and rigorous. Paintings of one singular draught are (re)produced in large quantity. The duplicates amount to fill the space of a large wall, thereby expressing more intensively and directly the volume and being of representation.

The initial idea of reproduction derives from printmaking: If paintings could also take the passive stance of being observed, the consequence would be self-introspection (in the act of painting), examining simultaneously the painting’s existentiality and expressiveness. The completed works are moulded in order to re-present the original painting, before their treatment by coating the surfaces to maintain initial textures of hand painting. This allows the original work and its represented copies to contrast in both visual effects and meanings, while adding to their mutual consistency and compatibility.

A variety of factors determine what goes into the finishing process of a painting. The question is, what is intended by the painter (auteur) for the viewer to see and recognise in face of the completed works of art? Is it subject or object of the painting itself that influences how a viewer approach the painting? The physical textures of layered pigments, as well as the grading and varying of colours, all result in what will ultimately be perceived, i.e., painting and the paintings.