My latest works represent a dialogue between two distinct artistic traditions, marrying the rich heritage of Western oil painting with the delicate philosophy of traditional Chinese art. Drawing from the masterful still lifes of 18th-century Dutch painters Abraham Mignon and Jan Frans Van Dael, I've reimagined their dramatic compositions through the lens of Chinese aesthetic principles.

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At the heart of my technique lies the ancient Chinese "Mogu" (boneless) method, which allows flowers to bloom organically across the paper through fluid brushstrokes rather than defined outlines. This approach presents unique challenges when translating oil painting concepts to Chinese materials. Unlike canvas, which forgives and even celebrates multiple layers of oil paint, traditional Chinese paper demands absolute precision—each brushstroke is final, each color choice irreversible. This constraint transforms the creative process into a meditation on decisiveness and intention.