童雁汝南
每次讀莊子的文字，心境舒暢、廣遠(yuǎn)。
“未嘗見(jiàn)全牛”
模特在我眼里外形已融解，已經(jīng)不是一個(gè)完完全全的形象。它只是高高低低、不斷延展、游走跳躍的光斑，延綿起伏的丘壑。
純一：“管知止神欲行”
目擊而道存，眼睛直接、快速、掠取即逝的信息。但思維已經(jīng)沒(méi)有識(shí)別的可能，這時(shí)大腦實(shí)際也是一片空白。
每一筆都要和模特的呼吸相通。我、模特、筆，完完全全共呼吸，共同表達(dá)著每一處、每一時(shí)刻、每一神情最微妙的變化。正面的形象，空白的背景，不變的畫(huà)框，以不變?nèi)ビ铀蚕⑷f(wàn)變的世界。我繃緊身體，攢聚精神，以虛靜的心，等著一切可能的到來(lái)……尋佛佛不在，但真實(shí)四處彌漫。
能夠引人心動(dòng)的東西就那么一點(diǎn)點(diǎn)，能夠和宇宙發(fā)生通感的時(shí)刻就可能那么一會(huì)會(huì)，就這一點(diǎn)點(diǎn)和一會(huì)會(huì)是我畢生的探求。
自在：“游刃幾有余地也”
形狀與形狀在光色中結(jié)合，它們搭建在一起，融合到一處，又游離開(kāi)來(lái)；它們翻轉(zhuǎn)又交錯(cuò)，它們隔離又復(fù)疊。它們穿插又結(jié)晶。“空”在形狀之間流轉(zhuǎn)、游走。一光一暗，重唱流轉(zhuǎn)。兩極之間的空，是感性的豐滿,是存在的充溢。
游動(dòng)的筆觸，時(shí)而像堅(jiān)石，時(shí)而像波影。我的筆，有解放而來(lái)的自由感、充實(shí)感。越是自由，越是真理可能即將降臨。
Skilled and Magical Craftsmanship – Personal Comments on “Journey” in the Painting
Every time I read about the philosophy of Zhuangzi, I am entirely free from worry with a far-reaching mind.
“Supremely skilled”
The figure of the model has disappeared in my eyes, no longer to be a complete image, leaving just uneven, extended and bouncing light spots, as well as rolling gullies.
Purity: “Senses halt, but spirit moves on.”
Eyes can directly and rapidly obtain fleeting information, but thought is unable to catch up, and mind goes blank.
Every stroke needs to be interlinked with the model. The model, the brush and I interlink with one another at all points, to jointly portray the subtlest change of every detail, every instant and every look. The obverse image, the blank background, and the changeless frame, all receive the constantly changing world with constancy. I tensed myself and concentrated, to wait for any possibility with a tranquil heart... The Buddha is nowhere to be found, but truth permeates.
There is only a bit fascinating, and only a while of synaesthesia with the universe, but the bit and while are what I pursue all my life.
Unconstraint - accomplishing a task with ease.
Figures blend one another between light and color, to be constructed and fused, but dissociated as well; they are overturned and interlaced, but also isolated and overlapped. “Space” flows and migrates between figures, in light and darkness. The space between two ends is abundant in sensibility and overflowing in existence.
Vagrant strokes are sometimes like solid rocks or ripples. My brushes have the sense of freedom and fulfillment from emancipation. The freer they are, the more possible that truth is approaching.