Interview with Pu Wei
The Paintbrush artist Pu Wei, a native of Kunming, Yunnan, China, is well-known as an “innovative color of Surupa painting” artist in China. She was reported in Chinese influential art webs, magazines and newspapers, TVs, CNC world news, participated in international art exhibitions in New York, London, Paris, Strasbourg, Miami, San Diego, Dubai, Tokyo, Italy, Spain, Portugal, Switzerland etc.，and won many international art awards. Pu Wei is the first painter who apply the mind method of Great Perfection (Dzogchen) Dharma in contemporary art, and create a new artistic expression style of Chinese painting – The color of Surupa. This is a new type of Chinese painting rooted in Eastern philosophy and Chinese cultural, which pushes the art of Chinese mental imagery to a higher dimension and level. Contemporary Chinese painting - Color of Surupa series are full of colors, lights and shadows, artistic conceptions and prospects, using Chinese ink and brushes, water, rice paper and natural pigments.
How did your journey as an artist begin, and what inspired you to blend traditional Chinese brush painting with Western abstract styles?
I am a self-taught painter. My university major is educational technology and I am an educational television editor by profession. I became interested in painting when I was three years old. It took me more than 20 years to complete my self-growth and master the skills of traditional Chinese painting expertly, thus forming a very personal aesthetic concept. Since I was a student, I have read a lot of books on Eastern philosophy and Chinese culture, and learned knowledge about the mind, spirit, and consciousness. In 2013, I used the Great Perfection (Dzogchen) mind method of the Nyingma School of Tibetan Buddhism in China to paint, and created a new artistic expression style of Chinese painting - The color of Surupa, which comes from the name of Surupakaya Tathagata, means extraordinary fantastic colors. The color of Surupa is a new type of Chinese painting rooted in Eastern philosophy and Chinese cultural, which pushes the art of Chinese mental imagery to a higher dimension and level. I am an original and purely natural art creator. My artistic ideas and methods come from the pure awareness and inspiration from dreams. I obtained the knowledge of the Great Perfection Dharma through dreams. Dharma transmission in dreams is one of the inheritance ways of the Great Perfection Dharma of the Nyingma School of Tibetan Buddhism. This is a very orthodox and unquestionable way, which shows a clear origin and clean roots. I am the first painter to apply the Great Perfection mind method to contemporary art. My mental imagery is the image of a higher dimensional void realm with extraordinary information and energy. The painting medium I use is very thin, absorbent and permeable Chinese painting rice paper. The fluidity of water makes the rendering of ink and color in an uncontrollable state. The image on the paper is constantly changing, and it will automatically appear natural wonderful shape. These images, which are composed of vague, scattered, shapeless, contourless, various color points, shadows, shades, light and dark elements, have approached the void scene of higher dimensions. This is the highest aesthetic ideal of Chinese Taoism that I pursue - the great form Is without shape. I found that the aesthetic ideal of "the great form Is without shape" is highly similar to the aesthetic ideal of Western abstract art. To use a metaphor, in the long process of art history, Eastern art and Western art have taken different paths, but on the road to the peak of art, they met each other at the top of the mountain. In order to depict these beautiful images, I used traditional ink and wash media unique to the East, and introduced "light" and "color" on the basis of traditional Chinese painting techniques, integrating abstract expressionist techniques, developing new creative methods and paths, fundamentally bringing about profound changes in Chinese painting techniques and forms, and creating new expressive styles of Chinese painting. Although my work has the visual characteristics of abstract expressionism, it is not fundamentally an abstract style based on logical thinking, but a Chinese painting imagery style based on subjective consciousness. It is an artistic innovation guided by the spirit of Chinese art and supported by strong cultural connotations and spiritual strength.
You've described your artistic process as a form of meditation that connects you with the universe, nature, and life. Can you elaborate on how this meditative state influences your creative process?
I use the Great Perfection mind method to enter meditation, which opened the door to connection with nature, life, and the universe. I feel the high-frequency light and color of higher dimensional space, as well as the profound natural state, my mental imagery is a random, occasional, momentary emergence. When I start to paint, I can instantly go into meditation, my heart is like a container full of water, which contains all past experiences and skills, all life's troubles, emotions, desires, chores, etc. Before I start painting, I have to empty all of this water so that my heart is like a cleaned mirror. At this time, I returned to the state of a newborn baby, soft, pure, and clean. Gradually, various light spots, colored lights, rainbow lights, illusory lights and shadows and images appeared in my mind. These images are very high-energy frequencies or waves that will enter the picture along with my creations. At the same time, the top energy light of the Great Perfection - the rainbow light, is everywhere. It fills my conscious space, which constitutes my conscious energy field, changes the physical properties of the matter around me, and leads to the phenomenon of telepathy and supernatural miracles. The media of Chinese painting are all derived from natural materials of plants, animals, minerals, rocks, etc., which carry the life energy that has passed away, and there is also life energy in the water, which constitutes the media energy field. My mental imagery originates from a higher dimensional space, which I call the space energy field. When I connect the three energy fields of consciousness energy field, media energy field and space energy field, there will be an interaction. I use the Great Perfection mind method to activate the life activity of these energy fields. This is what eastern philosophy says, "Everything is Spiritual". My painting is a process of exploring the unknown and I don’t see the result until the end. The first projection is a vague image that appears in my mind, and the second projection is the process of transforming the mental imagery into a paper image: I randomly splashed ink and color on the rice paper. Under the action of the flow of water, ink and color randomly combined, blended, superimposed, penetrated, and generated gradient. These living and spiritual media moved freely, formed automatically, and appeared on the rice paper the ever-changing, natural and mysterious image. During the whole process, I was a conductor of the concert, using my consciousness to guide the water, ink, color, light and shadow to play the symphony on the rice paper. Each medium element freely exerts its own playing talent, and my consciousness interacts with them. On the rice paper, there will be appeared automatically scenes that I did not expect, similar to the natural state of the universe, nature, and life, and including some are extremely esoteric images. That is when I interact with the consciousness energy field, the media energy field, and the space energy field, resulting in supernatural phenomenon and telepathy miracles. In some places, I will do some manual intervention and guidance with a brush. When the carnival of the concert was coming to an end, I used a brush to do the final processing to enhance some details to make the picture look more artistic, refined and more perfect. After some mental imagery pictures are completed, they can continue to be expanded. I will add some humanistic elements, such as symbols of spiritual totems, images with cultural meanings, natural scenery and objects so on. The mental imagery picture can be used as a background image to continue to expand, adding the painter's subjective creative concept and humanistic ideological connotation, and the final work is the perfect combination of natural energy and conscious energy. It can be said that half of my mental imagery paintings are completed by supernatural life spirituality. These automatically appearing, rich and complex images, I think are some esoteric structures that carry energies and information that we don't know about, many of which I cannot define, but I know that the images are full of powerful spiritual power and unknown life energy. The images contain incomprehensible meaning and esoteric significance. In terms of the Great Perfection theory, I am similar to a "terton" who unearths secret treasures from the depths of consciousness, except that I display these treasures in the form of paintings.
How do Confucianism, Taoism, and Buddhism influence your artistic approach, and how do these ideologies manifest in your work?
In Eastern philosophy and Chinese culture, the relationship between nature and humans is in a state of "unity between heaven and humanity", and humans belong to a part of nature, whose essence is nature. Based on this concept of nature, traditional Chinese aesthetic thought was established. All spiritual practices formed by Confucianism, Buddhism and Taoism based on the concept of nature have similarities and convergences. Cultivating heart (Confucianism focus), Being still and poised living (Taoism focus), and Buddhism meditation all point to the same goal - staying connected to the nature, achieving a transcended mind without being stimulated by reality environment. The ideal of "unity between heaven and humanity" has also been the artistic spirit of Chinese painting for thousands of years. Chinese artists through history tend to consider as essential that art works must express “spirit” or “rhythm”. The artist with the capability to express the “inner spirit” of the subjects they are painting is held in high esteem. In order to realize this artistic ideal, Chinese artists must purify their souls and sublimate their thoughts by improving their moral standards and cultivating their inner nature, thereby resonating with the frequency of the universe, elevating the dimension of consciousness, and reaching a higher artistic realm. Therefore, Chinese painting art, which is influenced by Eastern philosophy, is more oriented to "spirit" and "inner view", expressing the inner feelings of harmonious resonance between individuals and nature, life and the universe. Art works are usually regarded as the cultural heritage or spirit carrier. There are many discussions about spirit, consciousness, and soul in Eastern philosophy, as well as a large number of spiritual training methods and paths, which can help us move toward the "unity between heaven and humanity" and achieve resonance and harmonious coexistence with nature, life, and the universe. One of the methods: meditation, is a method and path that allows our consciousness to transcend the real world, and our mind can connect and merge with the higher dimensional universe space. The universe, nature, life is intrinsically connected and follow common universe laws. Such as: light, peace, harmonious, warmth, calm, joy, relaxation, happiness, purity, etc. These feelings are frequencies, are fluctuations, all of which are "love" energies. I like to express the relationship and state between the universe, nature, and life, and I am happy to establish a connection with the higher-dimensional universe and transmit the energy of "love" to the audience through my works. Many facts have proved that people feel the shock of their thoughts through my works and start a dialogue with their hearts; People who have experience in mind training read my work and think that they have met it in the subconscious before; Monks can quickly enter a state of meditation by viewing my works; People with headaches see my paintings, and the pain is immediately relieved; Irritable people see my paintings, and their hearts are quickly calmed; Children with pure hearts cheered and cheered when they saw my paintings; People with a high level of spirit regarded my paintings as spiritual totems..., Of course, some people would be afraid and resist when they saw my paintings, these are normal phenomenon. Resonating with the energy frequency in the painting can give you a positive feeling. If you are not in harmony with the energy frequency in the painting, you will have a negative feeling. My paintings are higher-dimensional natural states, not natural scenes of visible reality, they are frequencies and fluctuations that need to be sensed by the mind. I record the instantaneously projected mental imagery from high-dimensional space in the form of painting art. They contain many unknown spiritual powers and life energies, which cannot be interpreted or named with a specific concept. In order to not restrict the audience's thoughts, I am almost unwilling to set a title for the work. I prefer to give the audience the freedom to appreciate and imagine, so that they can understand the spiritual power and life energy from the universe and nature through "understanding", "divine communication", and "awareness", so as to obtain the sublimation of thoughts and the nourishment of the soul. Therefore, my works are pure spiritual artistic expressions, belonging to the metaphysical category of spiritual supremacy, and are an artistic medium and channel to help people improve their spiritual level and realize noble soul. It is not only an art form, but also a cultural phenomenon and spiritual experience, as well as a carrier of spiritual sustenance and philosophical thinking.
You use traditional Chinese ink, brushes, water, rice paper, and natural pigments in your work. Could you discuss how these materials contribute to the unique aesthetic of your 'Color of Surupa' paintings?
Chinese ink and wash media has a unique property, which is uncertainty and uncontrollability, for example, the combination of soft and flexible brushes, flowing water, transparent pigments, gradient ink, and highly permeable rice paper will automatically produce many natural changes and wonderful shapes. This feature is the gap between space dimensions, which I call the "gate to higher dimensions." In the process of my painting, the technique of painting is not important, manual intervention should be minimized, artificial traces should be faded, and the image would be infinitely tending to a natural state, showing its essence. I must release the natural power to the greatest extent. Any subjective consciousness, advance presets, and artificial traces will destroy the purity of expression. Only when everything is in a state of change, uncertainty, and uncontrollability can the "gate to higher dimensions" appear. How can I open the "gate to higher dimensions"? "Emptiness consciousness" is the password to open it. When I enter meditation, my consciousness tends towards “emptiness”, in which I can establish connections with the spiritual power and life energy of high-dimensional space. They will participate in my creative process as natural forces. When I draw, high-frequency light, color, and blurry images appear in my mind. I let water, ink, and color to run freely on rice paper. Occasionally, I use a soft brush to guide the flow to avoid excessive loss of control in the picture. As the images continue to be superimposed, various magical images appear automatically, and the subtle details are so rich. My mental imagery has the characteristics of holography, and I have different feelings when viewed from different directions. I usually rotate the direction to observe my works carefully. I will feel lost in time and space, and the illusion of interlaced time and space will appear. For example, sometimes various scenes in nature such as oceans, sky, clouds, trees, human faces, caves, and the universe appear, and sometimes magical structures appear, such as words, spells, symbols, Vajrasattva faces, shadows of elves, the head of a dragon etc., and the dense, layered textures and details are shocking and unexpected. The appearance of these images is not pre-set by me, but appears automatically with the change of color and water flow during the dynamic process. I think it is a miracle of telepathy. Another miracle is the color combination of geometric multiples formed naturally, these are not the effects that I can reconcile and achieve manually. The light and color I perceive come from projections of mental imagery, not reflected light of objects observed through my eyes. At any time, I can draw on cloudy days, sunny days, bright light, dark light, and even under the changing color lights of the stage, because the light and color projected by my mental imagery are definite and unchanged, and will not be disturbed by the external environment. According to the light and color projected from my mental imagery, I blend the corresponding colors, and let the various colors and inks blend naturally on the paper to produce a superimposed effect. Chinese painting pigments are transparent colors. After the colors are superimposed layer by layer, they will mix, penetrate and change with each other to produce various chromaticities, gradations, hues, shade and shadow, and automatically generate geometric multiples of color combinations. Therefore, in my paintings, it can be seen that the composition of light and color is extremely rich and deep, whether it is cool color or warm color, it can achieve harmony in the end. This is the result of the reconciliation of natural forces. Definitely not the depth of expression that I can achieve with human power.
How has your style evolved over the years, and what have been some key milestones in your journey as an artist?
There is a timeline for the evolution of my style: I started painting when I was 3 years old, and until I was 30, I spent about 28 years creating traditional Chinese paintings; From the age of 30 to 42 I devoted myself entirely to television editing work, and I almost stopped painting; Time came to March 2011, I had a wonderful dream: a monk in a red robe handed me a paintbrush, this dream awakened my painting passion that had been dormant for many years, and I felt that there was a powerful force pushing me into crazy painting situation. It took me nearly two years to complete the artistic transformation of others for decades. I went from the most basic traditional Chinese fine brush painting to ink and wash, from figurative painting to abstract painting. After I tried a variety of Eastern and Western techniques, I think these technologies are still binding me. So, I decided to completely overthrow all past experience and skills and create a way to express my innermost feelings freely. In 2013, a new painting style was born, and I founded "The color of Surupa"; In April 2018, I participated in the New York Artexpo for the first time, and then entered the international art world. In the following years, I participated in many international exhibitions and won multiple international art awards. With the occurrence of exhibitions, reports, interviews, awards, publications, and other events, more and more people have come to understand the new style of contemporary Chinese painting - " The color of Surupa ". I have been through ten years since the birth of color of Surupa in 2013, and my most important milestone is that I have discovered a very unique path that can directly enter pure consciousness and reach a higher dimensional universe space, where there exists a vast and boundless natural state. I constructed a mental imagery projection path that gradually progresses in three dimensions: The first level of consciousness dimension - like imagery, showing the illusion of visible reality, depicts objective objects, has stable techniques, and the consciousness energy level is at a normal level. The second level of consciousness dimension - from like imagery to unlike imagery, showing the illusion of invisible space. The mental imagery swims between clear projection and blurred projection, and the technique is in a state of "dynamic change". Objective objects recede, and subjective feelings and signified intention are dominant. The picture contains known or unknown spiritual power and life energy. The consciousness level of this dimension is higher than the stage of the first dimension "like imagery", some works can be defined, some works cannot be defined, and undefined works are numbered with the creation date. The third level of consciousness dimension - from unlike imagery to emptiness, from the vague projection of mental imagery to the natural manifestation of void natural states. It needs to go through two projection processes. The first step is that the imagery projected in the mind has become blurred; Step 2: Transform vague imagery onto paper for secondary projection. When creating in this dimension, techniques are in an "unnecessary" state, personal subjective feelings disappear completely, and consciousness is " emptiness". Dominated by natural forces, shapeless images automatically appear on the paper. This is the natural state of high-dimensional universe space, showing the essence of nature, which contains unknown spiritual power and life energy. At this stage, the consciousness energy level is higher than the previous first and second dimensions. It can continue to be upgraded later, but the difficulty coefficient increases. Only through "mind practicing" can it be further improved. The works at this stage cannot be defined and are numbered with the creation date. The representative work is the "Void Realm Series". From the gradual process above, it can be seen that the consciousness dimension of my mental imagery is constantly upgrading and endless, which is an infinite process of exploring the unknown.
Having exhibited your work in diverse cities like New York, Paris, Tokyo, and Dubai, how have these varied cultural experiences influenced your artistic style and expression? Do you find that your work resonates differently with audiences in different parts of the world?
My work has participated in exhibitions in diverse cities around the world, arousing the curiosity and exploration of the audience. first, I use Eastern ink and wash media, and from the appearance, the material has some special characteristics; Secondly, the content of my works portrays the natural state of the higher dimensional universe space, an unknown world that transcends people's cognitive scope. These paintings look like abstract paintings, but they are not abstract paintings, so people really want to know what kind of paintings they are and what they want to express. For this reason, I have been interviewed by many art media. My artistic style and expression will not be influenced by participating in exhibitions in different regions. Most of the audience share a common feeling, liking my brilliant colors and fantastic composition. They can feel joy, light, warmth, happiness, peace, and tranquility from the picture, and can obtain the joy of free imagination. This indicates that the high-dimensional frequency and vibration emitted in my works are common rules of the universe，this is the energy of love, a universal value. Especially for some people who are high mental sensitivity can feel powerful energy, they can see ever-changing light waves and mysterious information structures, and will explore various "mysteries" in my artworks. I found an interesting phenomenon that different people have different interpretations of my work, and each person has their own conclusion. I really like people to interpret my paintings with a lot of feelings, I think that if a painting can carry more people's cognitive information, it means that the painting has stronger energy and higher dimension. So that I judge the quality of my work based on the capacity of the information, a work with dozens of interpretations is definitely better than a work with only one answer.
What do you hope viewers take away from your paintings, especially in terms of understanding the blend of traditional Chinese culture and modern artistic expressions?
I hope the audience can gain spiritual insights and soul freedom through my paintings. Painting is a means of mind training for me. I usually spend a lot of time learning about the knowledge of consciousness, spirit, and mind, and studying the theories of Buddhism and Taoism in traditional Chinese culture, use Eastern philosophy to think about the meaning of life. I observe the relationship between man and society, man and nature, and man and man, discover the good and evil of human nature, and make my own independent thinking and judgment. My works focus on mind improvement in the spiritual realm, rather than reproduction and criticism of social phenomena. I refuse to pollute my mind with negative energy such as ugliness, evil, depravity, filth, hatred, greed, etc. When I paint, I must empty my mind, fill my mind with positive energy, and sublimate my soul, so I keep away from the impetuousness of reality, abandon social garbage and enter an ideal kingdom beyond the real society, which is the paradise for my soul purification and the ladder to my soul salvation. By connecting with nature, life and the universe, I got rid of the shackles of the real material world and gained true freedom of the soul. This is a very perfect kind of life experience, and I feel extremely joyful and happy. I would love to convey these universe love energies to the audience through my paintings. Visible or invisible natural space is full of vitality and is the source of all energy, so my paintings express natural states and scenes, natural energy and information, natural feelings and appearances, I use natural power and energy allows nature to present its essence, thus realizing my own aesthetic ideal. I present my mental imagery of a certain time and space in random changes, allowing the natural state to appear naturally. These images can correspond to visible real scenes, or invisible void scenes. The audience can define and feel by themselves. I want to give the audience room to imagine freely. This is a very important aesthetic ideal of mine, which is to let me create in a natural state and let the audience think in a natural state. That is to say, while I gain spiritual freedom in the process of painting, I also let the audience gain freedom of thought when watching. By expressing nature, let us return to the essence of human nature and enter the free realm of art. The concept of "Unity of Heaven and humanity" advocated by Eastern art is to achieve spiritual liberation and obtain soul freedom, which is highly consistent with the spirit and concept of modern artistic expression. I use contemporary international art language to express the highest aesthetic ideal of Chinese painting, "the great form Is without shape", it shows that the aesthetic ideals of the East and the West have similarity and convergence, and reveal that the common aesthetic laws and the common artistic spirit of pursuing freedom in both Eastern and Western art. Through my works, audiences from all over the world can see the beauty of the blend of traditional Chinese art and modern artistic expressions, as well as the beauty of the blend of Eastern and Western art.
Your work is known for its blend of subjective consciousness and aesthetic experience. Can you elaborate on your philosophy towards creating art and how it guides your creative decisions?
My artistic creation philosophy comes from the Great Perfection (Dzogchen）.The Great Perfection is a very advanced system of meditation on the deepest, subtlest, foundational levels of mind. “Mind” refers to the unbroken mental activity of cognitively engaging with objects, described from another point of view as the mental activity of giving rise to appearances (mental holograms). Regarding the Great Perfection mind method, it is difficult to explain accurately in words. It is a very subtle method of projection and manifestation of mental images. I have built a theoretical model to describe this mind method, which is not its essence, just a superficial metaphor: This is a holographic, three-dimensional circular space representing an infinite, borderless universe. The center of the circle is my heart. When I empty my heart, my whole being merges with the universe, and my heart resonates with the universe at the same frequency. At this time, this circular space becomes my consciousness space. The place near the center of the circle belongs to the visible area, and the farthest place is the invisible infinite space. The concentric circles that expand step by step represent the consciousness dimension from "like image" to "unlike image". There is a line extending from the visible area to the invisible space like a radar line. The longer the radius of this line, the larger the space covered, the more information and energy it contains. "Unlike image" has a much higher level of consciousness than "like image", contains more complex information, and carries more energy, so we cannot use a certain information to name an "unlike image". For example, abstract paintings are difficult to name. If the consciousness dimension is further escalated, we can continue to enter the invisible void space, where "without shape" has appeared. This is the highest aesthetic state revealed by Chinese Taoism - the great form is without shape. This circular space is filled with rainbow light, which is the top-level energy light of the Great Perfection of the Nyingma School of Tibetan Buddhism, and is invisible light. When I use the Great Perfection mind method, I am in the energy field of the rainbow light. As my consciousness increases, from the visible area to the invisible space, my empty heart, like a mirror, reflects the void image of a higher dimension, this is the projection of mental imagery. According to this model, the dimension of consciousness must be upgraded so that we can perceive areas from the visible to the invisible. When my conscious dimension reaches the invisible space, techniques are no longer a problem at this level, nor are they important, I can use all possible techniques and express all possible images.
As a prominent figure in contemporary Chinese art, what message or legacy do you hope to leave through your art for future generations of artists?
I believe that no matter how noisy and prosperous the art world may be today, art will ultimately move towards a noble spiritual world. Now we are in a degenerate era, where human society is filled with material desires and the concept of money supremacy. The prosperity and grandeur of the art world cannot conceal the vacuity of people's spirit and thoughts. Many artists are lost in the trends and eddies of the art market, and artworks lose their spiritual function, becoming replicas of technology or carriers of financial investment. Contemporary art should be constructed by a creative and genuine group of artists who should have their own place in history. In such a chaotic and disorderly world of art, I want to awaken people's pursuit of spirit through my art, elevate the dimension of thinking, and let art return to its spiritual attributes. I see painting as a course for mind practicing, directly pointing to the ultimate goal of art, which is to pursue spiritual liberation and obtain the freedom of the soul. In fact, my art has moved away from the material world and social reality. I have found a new path from Eastern philosophy and wisdom: meditation, which leads me to the peak of my spirit. Meditation has helped me open the door to connecting with the universe and nature, allowing me to experience higher dimensional frequencies of light and color, as well as profound natural states. I think that in addition to the sights of the physical world that our eyes can see, there is also the natural state of higher dimensions of invisible space that is perceived with the soul. The mental imagery let me understand that there is still a boundless art field waiting for artists to develop and explore. I want to tell future artists that the ultimate goal of art is to gain freedom of the soul. The mission of an artist is to be the creator and leader of the spirit. The process of artistic creation is more important than the result, which can test whether an artist can become a sincere spiritual messenger. Nowadays, many painting techniques and effects have been replaced by AI painting techniques, but only the spirit of artists cannot be replaced, so our artists must expand their spiritual core and upgrade their ideological dimensions in order to open up an innovative era of art.
Looking ahead, are there any new themes, techniques, or projects you are particularly excited about exploring in your future works?
Based on the timeline of my style evolution, I will create artworks in three parts alternately in the future. For the first level consciousness dimension - like imagery, I will propose new illusions series that reflect visible reality; For the second level of consciousness dimension - from like imagery to unlike imagery, I will continue to expand my series project "Esoteric images of the soul " series, reflecting illusions of invisible space. For the third level of consciousness dimension - from unlike imagery to emptiness, my consciousness tends towards emptiness, and in this state, my painting no longer has the concepts of "theme", "preset", "subjective", and "feeling", presenting a natural state of the higher dimensional universe space. At present, I am engaged in exploring the "Void Realm Series", which is an upgraded version of the second level consciousness dimension "Esoteric images of the soul". Each of my paintings is an image captured in a specific time and space, which is random, accidental, uncertain, non- repeatable and irreproducible. It is the perfect product in that specific time and space. I think every painting of this kind is my only one and my favorite. I have always maintained a curiosity and a research mindset towards this. I will adhere to my meditation path to upgrade the dimension of consciousness, continue to explore my mind imagery, and I feel that every creation I make is a brand new adventure to explore the unknown. Now, I am already in a vast and boundless new field, and this exploration has no end. I am like a pathfinder, a treasure hunter, all of this makes me particularly excited, which is why I have always maintained a strong interest and passion for painting.
