對我而言，一幅畫不單是用眼睛來看，更重要的是用心去體悟。觀者必須去思索可見的物象背後不可見的意涵。我的作品不是牆上的花，也不是畫出來說明什麼，只是用它來喚起 ── 喚起無窮無盡的經驗、激盪思想。而後，由您去完成一件完全屬於您自己的「作品」。
每每思緒澎湃，擬將沉聚的塊疊傾吐畫布之上，我終於尋得一塊可以安置自我情緒的空間。
曾想構築大山大水
但，祖國山河無憑追憶
因此，
深深凝睇：
一具銷耗的石磨
一方破敗的墓碑
斷坦殘壁
落葉飄零
………..
不覺泫然涕下
一幕幕
塗炭奔命
喪亂流離
飄泊羈旅
……….
滿載著淒蒼深沉的幽思
一刀一筆的述說
中國歷史漫漫長夜中熔鑄的萬古悲愁與寃曲
沒有人能，也不必去解釋長城的石塊。
你只能用感覺去「看」那血淚浸漬的斑剝。
一些形色都彷彿是被時間與氣候偶然創造出來的。製作中，我只是用一種虔敬的心來為時間作見證。近於完成時，我帶著「著魔般的激情」將大量的顏料快速的厚塗、堆砌、噴灑、擦刮。有若抖落萬千的塵埃，經歷萬古的積淀以及風雨刻劃不滅的噬痕。亙古以來，一切都受時間的轄御。人，無限時空中瞬間的過客，無論尊卑，終將同歸寂滅。一個智者，一旦體悟到時間的本質，就只有翕然臣服。
好的藝術家必須：
1.靜心（不僅限於齋戒之其他方法）
2.不敢懷慶賞爵祿（不求功利）
3.不敢懷非譽巧拙（不圖虛名不計得失）
4.忘吾有四枝形體（創作時不執著自我，即捨的功夫）
孤寂
孤寂是最好的導師
他使每一個接近他的人心靈偉大
孤寂是希聲的大音
他震撼每一個渾噩的靈
孤寂是水
他滌淨每一顆污濁的心
孤寂是火
他解開所有困阨的結
孤寂是燈
孤寂是火
他解開所有困阨的結
孤寂是燈
他照亮人心每一處陰暗的角落
孤寂是詩
他在每一片空白上播種、澆灌
孤寂是最好的調和劑
他使眾多美好無言的契合
孤寂是最好的朋友
當所有人都離開時， 他就來了
(我的音樂性)
我並非刻意去營造所謂的音樂性，作畫時聽音樂也不是想藉此將音符轉化成造型或色彩。有音樂性可能是很自然的事，因為我那麼喜歡音樂。或許是一種誠於中而形於外吧！音樂的空間感對造型藝術是有很多啟發的！
(關於抽象)
抽象畫派的出現有其軌跡可循。具象畫發展到印象派之後，畫家因光學的啟發而確立了所描繪的對象是「光」而不是「物體本身」的觀念，這是脫離描繪物體的第一步。接著野獸派把物體由自然的色彩中解放出來，立體派又把物體由自然的造形中解放出來，最後再加上象徵主義(Symbolism)的精神洗禮，抽象主義就呼之欲出了。抽象畫根據蒙德利安(P.Mondrian)的定義可分
為兩種：抽離(Abstraction)與創造(Creation) 。最早的抽象畫是由抽離著手，這種抽象是由畫家依其主觀「去蕪存菁」，康汀斯基如此。蒙德利安的演化也是依樹林的形象簡化成弧度不大的弧線
而進入方格與原色的純抽象。包括馬勒維奇(K.Malevish)的絕對主義(Suprematist)也是由立體派發展出來的，但這種「創造」一旦由這些先驅者開拓出來之後就已卓然獨立。後繼者大可不必再依
賴抽離的過程而直接進入「創造」的領域。後來的抽象表現主義(Abstract Expressionism)和「繪畫性抽象以後的抽象」(Post-PainterlyAbstraction)的大部份畫家都是循第二種方式來創作的。
(自然與繪畫)
關於自然之於繪畫，撇開提升精神性的豐富不去談它，因為它很難界定。我僅就比較實際而明顯的「功能」來說，它的影響也是深遠的。具象是以二度空間再現三度空間，因此它永遠只是一個
幻象。繪畫有它基本原素(點、線、面及色彩)，抽象畫家們都堅持它們是可以獨立存在的，就像音樂不必摹倣自然的聲響，就連標題音樂也不必。脫離自然形象完全無損藝術的價值。
抽象使造型發達，德國的包浩斯(Bauhaus)對近代設計上的貢獻早有歷史的公評，而引導這個學校教學方向的正是一群抽象畫家，康汀斯基就是其中之一。藝術到了這個階段就第二自然而言，它
從對器物的描繪進而影響器物的製作，其功能上的價值是值得肯定的。
(關於對稱性構圖)
關於對稱性構圖得由我早期的摸索談起，大約在七六年前後，我常常為了不能跳脫前人的巢臼而喪氣不已，我想如果藝術是誠於中而形於外的東西，那麼每個人的內心都大不相同，為什麼偏偏
畫出來的東西都有某種程度的相似呢？後來經過八三年對自動性技巧的體悟，我發現這種雷同大部份來自「眼-心-手」的連串執著。為了去除這種「執」，自動性技法是一種置於死地而後生的
方法。這個時期我常在黑暗中作畫，只是到了八七年之後的環境已不許可我這樣做，因此為了達到「去執而讓內涵自然流露」我採用了最不需要「營設」的對稱構圖，幾年後我曾試圖要打破對
稱，但都因為不對稱所帶來的不安定感而無法成功。有一個朋友提醒我這可能和我練氣有關，因為氣的運行是對稱的。我無法確定是否真是如此。
(靈感)
我相信有靈感，但靈感不是在等待中可以得到的，我的經驗是在工作中求靈感。至於天賦，我想我的定義可能與你的不同，我認為天賦不是色感、音感一類的東西，因為這部份還是可以從學習中精進的，既然可以在學習中得到就不算是天賦，天賦應該是一種與生俱來的性情，像堅忍、恬淡、愛心等等才是。
To me, a painting is to be seen not only with the eyes but with the heart as well; one must think about the unobservable things behind the observable subjects.
I do not paint to decorate walls, nor do I paint to say anything. Art is a medium to provoke echo of unlimited experiences and to inspire thought which allows one to complete “works” entirely his own.
Each time when I was filled with emotions, it overwhelmed me like the imposing waves lashing against the shore, and I eagerly put it down on the canvas to ease my soul.
At one point, I wanted to paint scenery, but, without the experience of having seen the magnificent panorama of my homeland, I can but stare upon—–
a discarded grindstone,
a forgotten tomb,
a ruined house, and
restless falling leaves…….
Unconsciously, tears welled up in my eyes
as one scene ends, the next begins—–
lives devastated by warfare, and
the dead were entombed, then
survivors drifted away from home
Loaded with such abyss-deep sorrow,
I worked keenly to portray:
the shadows of grievous injustice and harsh toils which had been forged in the darkest nights of the Chinese history
No one would bother trying to demonstrate the stones of the Great Wall.
One must see with his heart the stain of bloods, sweats, and tears that marked on it.
In my works, certain shapes and colors were created as if by time and climate. I bore witness for time with solemn reverence. Short before completion, I was possessed by passions and applied big amounts of pigment by pasting, laying, spraying, and wiping on it as though the indelible tracks were dusted with ancient remnants and incised by time.
Since time immemorial, all existences were dominated by time. Man is nothing but a transit passenger of the universe. Regardless of social rank they finally return to sheer extinction.
Once a wise man comes to comprehend the essence of time, he must willingly succumb to his Master.
A good artist must:
- Possess peace of mind
- Harbor no utilitarian intention
- Keep away from fame and riches
- Slough off stubborn persistence when creating
Solitude
Solitude is the great mentor
for she elevates every soul that comes closer
Solitude is “sonorous” sound of silence
for she awakes every dormant spirit
Solitude is water
for it cleanses every grimy heart
Solitude is fire
for it unchains every Gordian knot
Solitude is the light
for it enlightens every gloomy corner of the inmost
Solitude is a poem
for it sows and moistens every barren soil
Solitude is the best harmonizer
for it binds up kindnesses together
Solitude is an intimate friend
who stays by you when all others are gone.
(How musical I am)
I do not structure my work to create musical effects. However, the love of music doesn’t follow that I intend to transfer the tune into space. So it is fair to say that the musical sense I cultivate sponta neously becomes part of my potencies. And I see the “space” of music is really enlightening in terms of visual arts.
(On Abstraction)
Been influenced by optics science the Impressionists aimed to represent light rather than the object itself. This first step marked the beginning of the path to abstraction. When Cubism and Fauvism emerged, artists broadened their range of subject more than natural forms and colors. However, with the advent of Symbolism to deepen the spiritual scope, abstract painting truly arrived.
Piet Mondrian defined Abstract painting into two categories namely “Abstraction” and ’’Creation.’’ The early abstract painting was dominated by “abstraction of figure” alone. Artists leading by Kandinsky abstracted the desired natural forms. Mondrian also started his evolution from “Abstraction”. His various studies of trees still contain a measure of representation. As the years progressed and based on “Creation”, the short curves changed into a grid of vertical and horizontal black lines and the three primary colors. Even Kasimir Malevish, the Suprematist, developed from Cubism like Mondrian. But the path from “Abstraction" to Treation" is not necessary for all followers. For once ’’Creation” was set in place by the forerunners, one can go directly to this independent realm as the Abstract Expressionists and Post-Painterly Abstraction artists did.
(On painting and nature)
Let’s not talk about spiritual value for spiritual value is too difficult and personal. But the functional value of Abstraction is obvious. Realism simulates three dimensional objects in two dimensions. Abstract painters insist that dot, line, plane and color can be independent elements from nature, just as music does not have to resemble sounds that occur in nature even the program music. Diverging from natural objects is no way degrades the artistic value. The successes of Bauhaus school have already recognized by the world. Many distinguished abstract artists made contribution to her and W. degrades the artistic value. The successes of Bauhaus school have already recognized by the world. Many distinguished abstract artists made contribution to her and W. = Kandinsky was among them. At this stage, art is no longer a business to copy the nature or artificial objects. On the contrary, art becomes inspirational source of craft.
(On my symmetrical form)
In my earlier exploratory years, around 1976,1 was often puzzling about why I could not develop my personal style. I observed that my work seemingly had derived from some prior artists. So, I was wondering if art comes from one’s spiritual inner why many art works show an obvious sameness. I struggled without reluctance until 1983 when I perceived the true essence of “Automatism.’’ Then I realized that my problem came from persistent habits of my “Eye-Heart-Hand” chain reaction of “inertia” Automatism is a crucial way to free myself from such impediment. So, for a long period, I worked in darkness to avoid the said persistence. In 1987 when circumstances not allowed me to do the same I began to use a symmetrical shaping method to ensure my spiritual inner was flowing out unboundedly. Long time after this I tried several times to break away from symmetry. But whenever I did, I felt insecure with the lack of balance. A friend suggested that this dependence on symmetry reflected my breathing exercises because air flow is always symmetrically streamed. However, I cannot be sure and it left unproven till now.
(Inspiration)
I believe that there must be something called creative inspiration. But to me inspiration can be attracted through activity only. Therefore I seek inspiration through perspiration. As to talent, my definition may be a little different from many others. I trust talent is not a matter of sensitivity to color or sound; these skills can be acquired by study. So we might say, talent is what we cannot learn. Talent should be something we have from birth, something like resolute persistence, innate peacefulness, or spontaneous love.
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