I like to paint when I was a child. But I gave it up when filling up my application form of university as everybody told me it’s difficult to earn a living with brushes and paints. Another reason was I had an eye disease in form three. My doctor told me not to overload my eyes and I could hardly imagine a blind person who could paint.
自幼酷愛繪畫，不過人人都說畫畫糊不了口，所以我在填寫大學申請表時，放棄了這理想。另一原因是自中三患上青光眼，醫生勸說不要讓眼睛過勞，而我也無法想像，一個盲人如何畫畫。總之，我離開了繪畫。
It has been a long road when I crushed it in my arms some ten years ago. I took elementary painting classes in my forties and vines was the first object that impressed me. To me, this slender plant symbolize small changes spreading out unnoticed.
人生多彎。大約十年前，因緣巧合卻又重返舊路。我報讀油畫初階課程，畫著畫著，無意中愛上了畫躝藤。這修長而蜿延的植物，象徵著某些不為人知、廣泛蔓延的變化。
Extension 蔓延 (2008)
50 X 40 cm
Oil on Canvas 畫布油彩
Extension was the picture I began drawing vines. I chose it as the first picture in my solo exhibition The Other End as my artist statement. Vines’ creeping form shows tenacious vitality and persistent extension.
這是我繪畫藤蔓的第一張畫，在《另一端》展覽中，作為觀賞路徑的「開場白」。蔓條細長，匍匐並無限伸延的生長形態，有頑強生命力，極具象徵意義。
Knot 糾結 (2016)
60 X 50 cm
Oil on Canvas 畫布油彩
Knot is a picture cut up into several geometric sections. Vines are the key element, symbolizing people’s discontent towards the political situation in Hong Kong. Three-dimensional and two-dimensional flat vines were displayed in contrasting colors to show the tension between reality and ideals.
這幅畫分割成數個幾何部分，其上繪畫了二維平面及三維立體的藤蔓。蔓條是一個符號，代表小人物對政治困局的不滿。在整個構圖中，顏色與明暗的對比，二維與三維藤蔓的對立，是希望展示理型世界與現實世界的割離與角力。
The Well 坐井 (2018)
120 X 100 cm
Oil on Canvas
There is an old Chinese idiom saying: glancing at the sky from the bottom of the well. I transform it into this painting, with the big ‘O’ as either the opening of a well or the earth seen from afar. Earth is the origin of life, beginning of everything, but at contrast a corner of the sky seen from the perspective of a frog at the bottom of the well is a limitation, a dead end. Through the ambiguity of the ‘O’, I ask such a question: what are we looking for? What are our desires and hatred? Do we really know ourselves?
所謂「井底之蛙」，究竟從這井中蛙所見的天空是怎樣的呢？井是圓的，想必那片天會是圓的；那麼一個圓形、湛藍的國度，其上又有雲朵飄過，那豈不是從太虛觀看的地球嗎？這幅畫有一個大「圓」置中，你看，那會是井口之圓？還是天穹之圓呢？就在這圓邊之上，究竟我們是坐在井之中？還是井之外？又或者這口井本是置於胸臆，如一窺管，讓我們探視自身，探視自己的好惡與初衷？
Vines in this picture symbolize the idea of unnoticed external forces exerted upon us. These include mounting socio-political tensions in the sociedty, evolving ethics and atmosphere in the working environment, and even subtle changes in character and perspective at a personal level. Some people take it as constrain in resentment and fight back, while some others welcome it or accept it as a fact of life. This drags me into introspection at a more fundamental level. What is ‘constrain’? What is the ‘self’ In contrast with ‘constrain’? These queries lead me back to the ‘well’, the origin: what is our ‘self’ at the very core that distinguishes between ‘me; and ‘others’ or ‘us’ and ‘them’.
畫中藤蔓象徵外力，是不知不覺、柔韌而頑強匍匐的植物。今時今日，社會政治二元對立，辦公室講求效率與產量，這些都在不為意間改變了個人的意識與觀念，如水渲紙背。有的人視轉變為限制，頑強抵抗，有的視之平常，欣然接受改變。教我從更根本的角度推敲這問題，究竟甚麼是限制呢？其受「限制」，究竟會是怎麼樣的一個「自我」呢？這些疑問都引領我返回井邊，返回最初的那個問題：在最核心的層面，就是這個「自我」去區分「我（們）」與「他（們）」。
City 一城 (2016)
60 X 50 cm
Oil on Canvas 畫布油彩
Private Collection 私人收藏
I have been searching for a symbol for city landscape, not sketching the city building by building, yet viewers would still easily identify it. Through repeated experiments, I use simple rectangular strokes to compose a ‘city’. These almost monotone colour blocks gives me plenty room to add in the vines pattern so as to create a ‘vines-engulfed-city’ effect.
有一段時間以來，尋找一個符號來描畫城市，既無需逐幢逐幢大廈描畫，但觀賞仍能心領意會。做了反覆實驗，我嘗試以很簡單的矩形直線筆觸，密集排列，以組成一座「城市」。在接近平塗的色塊中，我以近似色嵌入藤蔓，製造一個「藤蔓佔據城市」的效果。
Fragments 碎變 (2018)
60 X 50 cm
Oil on Canvas 畫布油彩
Private Collection 私人收藏
It is an attempt to compose a picture as colorful as possible, but not in florals. So i turn to fragments. With the disintegration of the figure, i seek to protray the status of metamorphosis.
嘗試畫一幅色彩有多繽紛便有多繽紛的畫，卻又不想畫碎花，於是想到了碎片。我將畫中人物也分割，但仍保持整合，既分又合，藉以描畫蛻化變異的狀態。
水國度 / The Domain of Water 