我爱生活中的点点滴滴，爱大自然的四季更递。工作之余，亲身去感受自然中温暖的阳光、季节鲜明的大地是我生活中的必需。每次在大自然中，呼吸着香甜的空气，心情的愉悦、创作的冲动会油然而生。

　　我觉得绘画是瞬间意念的产物，它是精神的、心理的、直觉的。是我对瞬间意念的执著和对纯粹表现的兴趣所在。

　　每次翻阅古人的绘画，仿佛置身于绿色氧吧，纯粹而清新，呼吸的顺畅，让我恨不得想多吸几口。特别是宋元时期的绘画，像元代那些大师的作品，无论画中的神韵和意境，包括用笔的节奏，都深深感染着我，每次拿来翻阅，都有一种精神的享受与升华。

　　西方绘画大师的作品，也是我的最爱。当我看到大师们用有限的色彩，表现出抑扬顿挫的画面，节奏和乐感在画面中交相呼应，那种激动难于言表。每到假期游历欧洲，去那里观赏大师的原作，是我最兴奋的。那里犹如艺术之海，美轮美奂，无与伦比，与我内心深处的感觉非常融合。

　　我喜欢在一种放松的状态下绘画，坦然、自在地任色彩和线条在画布上自由碰撞。不知道画驾驭了我，还是我驾驭了画。虽然说不清最后的效果，但我能感觉到它的存在。对于作品的形式、语言的建构，我更偏爱在东方的潇洒中放一点西方式的严谨，在强烈的节奏中放一点原始的浑朴。当然，偏爱并非理性的刻意安排，而是在有意无意中的相遇，我始终关注的是属于绘画本身价值的东西。至于停下的一瞬，反映了多少意识和精神，那只能是让观众用自己的视觉去探问我的作品了。

       I love every bit in life and the change of four seasons. After work, I would personally go and experience the warm sunlight in nature, and the land with distinct seasons is a necessity in my life. Every time when I stay in nature and breathe the fragrant and sweet air, I am joyful, and the impulsion of creation would rise of itself

       I think the painting is the product of instant idea. It is spiritual, psychological and instinct. It is where my persistence in the instant idea and interest of pure expression lie.

       Every time when I look over paintings of the ancients, I seem to be in the green oxygen bar, pure and fresh. A smooth and easy breath makes me dying to breathe more air. Especially the drawings of the Song and Yuan Dynasties, like the works of Painter Huang Gongwang of the Yuan Dynasty with the romantic charm and artistic conception in pictures, including the rhythm of brushwork have affected me deeply. Every time when I read them over, I’d have a spiritual enjoyment and distillation.

       The works of Western painting masters are loved by me the most, too. When I see the limited colors used by those great masters to express the cadenced frames with the rhythm and sense of music echoing in the picture, it is difficult for me to describe such excitement. Whenever touring Europe on vacations, I’m most excited to enjoy the sight of those works there. Just like a sea of art, marvelous and incomparable, it is very much integrated with feelings at the bottom of my heart.

       I like to draw pictures in a state of relaxation, having no misgivings and fully at ease to let colors and lines collide with each other freely. I don’t know whether it is the picture that controls me or I control the picture. Although I am unable to explain clearly what the final result is, I’m able to become aware of its existence. For the form of works and constitution of language, I show more favoritism to placing some western strictness in the eastern natural and unrestrained state and some original unsophisticated in the strong rhythm. Of course, the favoritism isn’t the painstaking arrangement without reason, but the encountering by accident or design. What I pay attention to all along is the thing belonging to the value of paintings themselves. As for how much consciousness and spirit the twinkling of stop reflects, only viewers use their own visual sense to inquire into my works.