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The inspiration for all my choices stems from my surroundings—I observe lakes and forests in the woodland. I collect fallen leaves, pinecones, and pieces of wood scattered on the ground, along with half-eaten apples and leftover carrots—these are the everyday elements in my paintings. Based on their inherent colors, I redefine their value, reconstruct their composition, and select all colors through my judgment of present-day objects. Take, for instance, a half-eaten apple left untouched for a long time. I observe how oxidation transforms it—from a whole shape to a gaping bite. Exposed to air, time leaves its mark in color—a charm that belongs to nature. That’s why I cherish this imperfect apple.
I deeply appreciate vibrant, living colors. I believe these varied hues collectively form the unique character and essence of an object. I trace the contours of plants, then etch the shadows of their forms beneath the objects themselves. Most of my paintings draw their hues from nature’s authentic palette, while a smaller part: fallen leaves, trees, branches—these faded remnants—I reflect in red—the very meaning of life’s existence. In my understanding of colour, red represents life’s natural decline, with new life coming to take its place.
During the painting process, I enjoy dissecting them by looking closely. When painting, I often focus just on the objects without paying attention to what’s already on the blank paper. This allows me to better immerse myself in nature itself. I become absorbed in the artistic conception, discovering more natural details while observing their textures and feeling their tactile qualities. I feel fully invested in this process. Naturally, this is something I learnt in course.

1. I cut tracing paper into different sizes and shapes, colored them, and collaged them onto a background painted with red, green, and blue markers. This not only created color overlays but also added layers to the piece.

2. I chose to use watercolors and splashed water to create a splattered effect, while using crayons to outline general shapes and textures. This made the overall composition more interesting and the colors more vibrant.

3. I used markers to draw the basic layout and color base, then added some brushstrokes and ‘little figures’ with acrylic markers. For example, while the bottom right was originally just solid blue, there were some pink words slightly to the left—so I transformed those words into ‘little figures’.

4. For this piece, I introduced a new medium—embroidery thread. I used markers as the base, then added texture on the surface with crayons and liners to avoid monotony. After that, I outlined the outside with thread to represent the original signboard frame.

5. In this piece, I first sketched the general outline with watercolors, then surrounded the edges with embroidery thread. I also used double-sided tape in the middle and applied different colors to enrich the composition.

6. Here, I didn’t pay particular attention to the overall color scheme. Instead, I used slight contrasts between black and white and color—for example, the bottom left is entirely black and white with a touch of blue above it, or the top left where a large black emoji stands out among a group of multi-colored ones.

7. For this artwork, I abandoned color entirely. Originally, I planned to make it a pure line drawing, but I didn’t want the lines to appear monotonous or rigid. So, I used markers in varying shades to add color based on the original hues.

8. For this piece, I selected only a small portion of the original. My main goal was to express the letters through different colors and to create a contrast between the background and the colors. The thread on the side was added because I felt the piece was a bit dull—so I attached it in a twisted form for interest.

9. This is the only piece that used calico fabric. I first crumpled tissue paper into irregular shapes, dampened them, and pressed them onto the paper. Then, I applied masking tape to the fabric and used the same method to color smaller fabric pieces before collaging them on top. This was an experiment for me.

10. In this work, I used almost all the art materials I had on hand. My main idea was to create collisions between different colors and textures. For example, the combination of watercolor, acrylic marker, marker, and crayon on the left represents a clash of both color and texture.

11. This was inspired by a building I saw while accompanying a friend to the restroom during my practice—each floor was covered in spray paint. Drawn in by its colors, I used a wide range of hues in this painting and employed crayons to convey the rough texture of the wall surface.

12. For this work, I tended to ignore the original shapes and focused more on color. I applied watercolors in broad areas, then filled in the letters and brushstrokes with acrylic markers.

While working on the “TALKING COLOURS” project, I contemplated many scenarios and mediums for expression. For instance, I thought about the walls I pass by when visiting acquaintances or the locked walls at subway station entrances. However, I ultimately chose a signboard covered in stickers and painted marks. I believe this is not just art and design from different people but also an expression and release of their inner emotions. When selecting materials for the artwork, I first chose basic supplies such as crayons, watercolors, and markers. I also incorporated threads, as I think people use such methods as an outlet for release when constrained by rules and limitations. Additionally, I opted for a fluid and unrestrained approach to express free and casual lines and shapes. While I aimed to use contrasting colors as much as possible, I still retained my habitual preference for coordinating within the same color palette. One of the pieces was created using calico fabric. Interestingly, my thoughts on freedom led me to associate it with unrestrained expression, which inspired me to use Velcro as a medium. I adhered masking tape to the surface of the fabric and then cut smaller pieces of fabric into various sizes, painted them, and attached them to the surface. This not only allows the pieces to be detached and rearranged freely but also adds an element of playfulness. For many of the artworks, I used watercolors to paint the background and splashed water to create a splattered effect. This technique enhances a sense of rebellion and untamed expression.