I need a bit of tranquility as an artist living in a city. My previous works are attempts to get some sort of quietness in the city, no matter how limited it is. There is, however, an endless amount of it in nature, where you can feel the calming energy of woods and streams. I have visited forests so many times that I feel as if their fresh air stayed in my body. Drawing on canvas from my memory of the fresh air in my studio is a process enjoyable to me.

I made skeletons with well-aligned white bone shoes as a representation of the medical symptoms from wearing high heels and as a metaphor for social frameworks. The works refer to the state of a genetic desire being extracted from a human body or cut open for anatomy, the state of self-observation. They also serve as a gentle indictment against frameworks and paradigms.

There are wildlands on one side and paved roads on the other. We have built a wall separating them. The work indicates a relationship, a conflict between cities and the wild. When the cities are occupying the land of the wild, the wild is snatching back what once belonged to it, giving us a painful reminder of the necessity to coexist peacefully with nature in the same place.

As you walk across Macao, you will find cobblestone pavements in different parts of the little town. The pavements, the food stands in Patane, the cannons on Mong Ha Hill, and the Coloane residents exposing salted fish in sunlight are what I can recall of the city in nostalgia after I left the place. ​

Rural life is simple and rustic, with bricks and tiles in shades, mud on the body by every step and jump. This creation is about childhood memories, when the little one’s hand is holding by his grandmother, walking to the bright side under the sky.