Printing Method: good at any printing method, but love Intaglio
I feel an invisible similarity between human feelings and the two processes of etching and embroidery. Drypoint or acid-bath etching on the copper plate will leave a row of fine scars, as long as the action that represents my consciousness touches the surface of the plate. The scars are superimposed as I move, gradually becoming dense until I can't tell what they look like individually.
I believe that beauty that is invariable in the process of intaglio plate-making is not true beauty. It is the uncontrollable destruction, devastation, and violence caused by material and randomness that brings beauty to its true balance.
EMBROIDERY: another language I use besides printmaking
The embroidery functions like a language for me.
When a stitch goes down, the mark is too small, as if a grain of sand fell on the ground. However, the marks from a thousand stitches overlapping, again and again, are too heavy, so heavy that the fabric underneath is bent and curled and cannot be restored to flatness even when ironed at high temperatures. When stitches fill in the whole canvas, the details will disappear in the eyes, and everything blends together.
Similar to the Sea of Fertility on the moon, the surface appears prosperous, yet there's a sense of emptiness, as if nothing truly exists.
ADDICTED TO:
Subtle, fiery feelings, the bonds between people, and the Lunar: especially the dark, invisible lunarmare...
When we talk about the Lunar mare on the moon, scientists say that there is nothing in the Lunar mare, just a vast empty continent. But the matter of the Lunar mare does exist, not physically, but in people's hearts and spirits, an eternal and unbroken emotion.