Splash ink series 潑墨系列

Focus on landscape themes and ink splashing techniques. Committed to exploring the spiritual translation of ink landscape in the contemporary context. The core is to ask: Can the artistic conception of the landscape and the chanceness of splashing ink in ancient times become a carrier to reflect the inner world and universe of contemporary people?

In practice, I mainly use the core media of pen, ink, paper and water, focusing on the flow of splashing ink, seepage and brush rubbing. In the creation, the ink color level is pursued, and the temperature flow of the yin and yang space. I was deeply inspired by the philosophy of "live and travel" built by the landscape of the Song Dynasty, and the free-spirit of Zhang Daqian's unrestrained posture in modern times. The former gives my work a structural spiritual framework; the latter liberates my pursuit of the material expression of ink. In the work "The Sound of Empty Mountains", I use medium-sized rice paper to randomly drive splashing, dumping and washing, so that the ink can form the image of mountains, rocks, clouds and fog and cellular tissue between controllable and accidental. Then, without intervening, he outlined the texture and scene of mountains and rocks in the chaos, and built an ancient and mysterious landscape. This work is a contemporary integration and personal interpretation of the traditional landscape "sleeping" you want to and the automatic technique of splashing ink.

專注於山水題材與潑墨技法。致力於探索水墨山水在當代的語境中的精神轉譯。核心在於追問：古代長年的山水意境與潑墨的偶然性，能否成為反射當代人內心的世界與宇宙的載體呢？

在實踐上，我主要運用筆、墨、紙、水的核心媒材，專注於潑墨的流淌、滲化與毛筆皴擦的肌理。在創作中追求墨色層次，陰陽空間的氣溫流動。我深受宋代山水所建構的「可居可遊」哲學，以及近代張大千姿態奔放的潑墨寫意精神所啟發。前者賦予我作品結構性的精神框架；後者則解放了我對水墨物質性表現的追求。在作品《空山幽響》中，我以中型尺寸的宣紙，以隨機的手法帶動潑灑、傾倒與沖刷，讓水墨在可控與偶然之間形成如山石、雲霧又似細胞組織的意象。隨後再以勢不介入，在混沌中勾勒出山石紋理與點景，構建出一個古老又神秘的山水。這件作品正是我對傳統山水「臥遊」你想與潑墨自動性技法的一種當代融合與個人詮釋。