The evolution of figurative painting has started from the observation of eye-visions then transfers the real object into a plane vision. Due to the invention of photography, a lot of painters have conducted the real photos as references, even further copy the views, perspective, the contrast of photos. Nowadays, people start to believe that photography is representing reality even the "reality" in the photos has been distorted for the optical and chemical formations.

What should a (figurative) painting or visual composition possess? Points, lines, surfaces, colors, spaces, structures, shapes, compositions, textures, layers, brushstrokes..., these elements that are often mentioned in painting teaching have repeatedly made me rethink the essence of painting. "Returning to painting itself" and reconstructing these basic elements are the assignment for myself at the beginning of the preparation of this exhibition.

The three series exhibited this time are all based on extremely simple objects and extremely simple elements. Through simulating real objects with fake ones, and creating simulacra with real items, this exhibition reorganizes my knowledge of painting, and demonstrates the simulacra of today's image age.

“The insecurity of even the busy areas puts the city dweller in the opaque and truly dreadful situation in which he must assimilate, along with isolated monstrosities from the open country, the abortions of urban architectonics.”
— "Imperial Panorama," One-Way Street by Walter Benjamin

This variable, exciting, and dazzling illusion of urban life, while social and political chaos makes it difficult to distinguish what is false and what is right. Internet nowadays becomes an important resource of information but obscures the truth and the false. This made people confused and difficult to follow. Characteristics and the fragments are continuous to information. Although we are not totally confused, this still blurred values of every human being. In this complicated era, we must adore all of these, from tiny individual to the whole society. This is the collection of microcracks.

This work is to remove what they are and play the roles I expected. Of course, audiences could reflect their own emotions in it. This kind of creation altered the original idea of the "meaning" and "temperature" of faces. It also removed "over-excess", such as the skin-color or make-up. This way can demonstrate the most real part of faces, no hair-style or other costume. The natural face could show its own spirit.

Cities and Flâneurs are closed correlated! In the series of "worry-free island", it does not mean that Flâneur is not in it although one cannot see the Flâneur. Oppositely, the vision of outsiders could reflect more the existing and Flâneur's visions.
This "simulated island", was composed by the well-known buildings, cities, living environments, social events, and sightsees in traveling represented a developed island country. However, people living on this island were incapable to change this city or this island. Like Walter Benjamin, 1892-1940, described, "..incapable to face and change this city...". As an artist, he conducted "painting" to rewrite, extend, further reconstruct this vision between reality and unreality.

In old time, literati loved to make "notes" to write down what they felt, what they thought, and their memories for recoding many segments of their life.
"Introduction" in pieces of literature was commonly arranged in the first few sections for leading readers to the real content. It is not a complete story but presents as a leading of a whole book and reveal the story. I, as an art creator, cut few months into small segments, like weekly notes, and use colors and brushes to record these fleeting moments of the muse. Painting is not like making movies or fiction. Thus, I often ask myself, can a painting carry a huge amount of thoughts, ideas, even feelings? Perhaps, a small fragment of an event, a story, a period, would be sufficient.