问：作品不断出现的那个“泼溅污迹”是一个重复的主题，它否带有视觉上的作用或具有象征意义?“泼溅污迹”呈明显的兰色，是否希望给观者带来什么心理上的暗示呢?

　　答：你所指“泼溅污迹”，是“不明液体”的观者想象之一。对这不明蓝色液体的想象还会因人而异，这样的不确定性带来的再创造的互动参与也正是“不明液体”系列作品的诱惑性之一。

　　问：你讲过“现代人都有伪装，这是中国目前的一个普遍现象”。对于访问中国或居住在中国的外国人来说，他们遇到的最大的问题就是关于“脸面/丢脸”的观念。你以为这种状况为何存在呢?这是一个正在变化的过程还是永久性的现象?

　　答：“死要面子活受罪”中国人常说的一句话。这似乎是一个文化历史背景下的“遗传基因”在作祟，很难改变。

　　问：你的作品是否试图让人们“摘掉面具”?

　　答：没有，因为这种努力是徒劳。

　　问：对社会和人持批评的态度有时是危险的，尽管主观愿望是好的。你认为人们可能改变什么吗?或者是否有这个必要?

　　答：艺术家面对社会应当有自己明确的立场和态度。

　　问：大众媒介的影响是如此广泛和强大，人们如何来保持自己的个性呢?在你所在的地方，无论是作为一名艺术家或社会一分子，是否真有可能保持其个性的独立呢?

　　答：有可能。同时信心和信念必不可少。

　　问：对我来说似乎人们有时候害怕保持独立思考，毕竟顺从可以带来安全感，尽管是以牺牲自由为代价的。

　　答：不能独立思考就不具备成为艺术家的前提。独立思考既是能力又是力量----获得真正自由的力量。在艺术创作中，我不需要安全感，因为它会使我阳痿。

　　问：在当今这个物质至上的社会里，人们都认为一些传统的价值观正在被遗忘或遭遗弃。你觉得应该做点什么来为今后的发展保存这些好的价值观?

　　答：这似乎属社会学范畴的问题。随着社会的进程，必然会有所取舍，我个人持宽容的态度。

　　问：你是否察觉中国传统的思想正在不可避免的遭到西方大众传播媒介的排挤，或者正在退居附属的地位?

　　答：对于你提的这个问题，我有些质疑。中国传统思想在意识形态多元化的今天，西方更多的有识之士不断深入研究，对世界也有积极的响。

　　问：你认为西方的观念对于中国社会是有帮助的，还是负面多于正面的呢?

　　答：我认为东西方文化及观念的相互渗透，是互补的有积极的促进作用。

　　问：目前出现有很多新的艺术形式，遗憾的是很多艺术家为了迎合市场而失去了原创性。你能否给这些艺术家一点建议?这对于他们有困难，因为他们既要保持艺术上的个性，有要保证稳定的商业上的利益。

　　答：如果一定要艺术和商业拉上亲戚关系，那么学术性中孕育着商业价值，而艺术与利益打成亲家那是很令人尴尬、无奈的。

　　问：成为流行艺术家是一回事，成为一个伟大的艺术家是另外一回事，你怎么看这个问题?

　　答：流行是快乐的，伟大是孤独的。我喜欢在孤独中享受快乐。

　　问：说到艺术，你喜欢的艺术家是哪些----国外或国内的?他们是否对你的艺术创作产生了特别的影响?

　　答：凡是对美术史具有颠覆性的艺术家都是我所喜欢也是我所钦佩的。

　　问：你为何来到宋庄?

　　答：命中注定。

　　问：你的一张绘画从有想法到完成大约用多少时间?

　　答：没准.

　　问：为何使用油彩做画?

　　答：作品的需要。

　　问：你如何看待当今中国的艺术现象?

　　答：有史以来“盛况”空前，可喜、可叹、可圈、可点。还是让时间回答吧。

　　问：你认为你自己是玩世主义/犬儒主义艺术家吗?或仅是一个现代艺术家?

　　答：不是，我只是当代艺术中的一员。

　　问：你对未来有什么打算?

　　答：只想做得更好。

　　Interview (December 2006 / January 2007)

　　Q: The ‘splash’ of paint is ever present, a recurrent theme. Does that have any specific visual function or is it symbolic? The ‘splash’ is inevitably blue in colour - what psychological effect do you wish to raise with the viewer?

　　A: What you call ‘splash’ is in fact “unidentified liquid “, of the viewer’s imagination. There will be a diversified imaginative reaction towards the blue liquid due to different people’s perception of it, and this uncertainty brings an interactive creativity, making the series more seductive.

　　Q: You say that “People are surely masking themselves and this is the present

　　situation in China”. One of the biggest problems foreigners encounter when

　　visiting and living in China is the concept of ‘ face / losing face ’. Why is it do you think that this concept exists, and is it in the process of changing or a permanent thing?

　　A: Chinese people always say ”Endure extreme hardship whilst trying to save

　　face”. There seems to be a genetic gene beyond culture and history, and hard to change.

　　Q: By your works do you want people to ‘ take off the mask ‘ ?

　　A: No: this kind of endeavor would be in vain.

　　Q: Because being critical of people and society can be dangerous, even though

　　intention can be good, is it possible for people to change? Is it even necessary?

　　A: An artist should have his own clear standpoint when facing society.

　　Q: The power of the media is so strong ~ how can people retain an identity?

　　Is it really possible here to be individual, both as an artist, and as a member of society?

　　A:  Possible, and at the same time you must have confidence and belief.

　　Q: It does seem to me that people are sometimes afraid of being independent, and that conformity does bring a form of security … at the cost of liberty.

　　A: It is the prerogative of an artist to be independent in thought. Being

　　independent in thought is an ability as well as power … a real power with which

　　to obtain freedom. I do not need safety in the creation of art ~ that would make

　　my art impotent.

　　Q: It is a common concern that in this age of materialism, traditional values are being forgotten, left behind. Is this inevitable do you think, and what can be done to preserve those good aspects from the past for the sake of the future?

　　A: This seems to be concerned with sociology. Some elements will be preserved as society moves on, so I am in a state of tolerance towards it.

　　Q: Do you find that traditional Chinese concepts and thoughts are being inevitably supplanted by the Western media or are they being supplemented?

　　A: I am pondering this question actually. The traditional Chinese concepts

　　have been studied deeply by Westerners, a positive influence towards the world.

　　Q: In society, do you think the Western influence is helping or doing more harm than good?

　　A: I think that Western and Eastern cultures and concepts have actually merged with each other, which is helpful.

　　Q: There is just so much new art coming from China these days, and unfortunately some artists do seem to paint to cater to a popular market, at the expense of

　　being truly creative. What advice would you give to new artists? It is difficult

　　because at the same time they need to be financially secure and sell their paintings whilst still maintaining artistic integrity.

　　A: If art has to be related to market forces, then the commercial value will grow … it is embarrassing when art becomes related to profit.

　　Q: To be popular is one thing, but to be a great artist is another, what is your opinion?

　　A: To be popular is to be happy, whilst to be great is to be lonely.

　　I enjoy happiness in loneliness.

　　Q: Concerning art: who are your favorite artists, both international and native,

　　and why? Have they had any specific influence on your art, or not?

　　A: I like and respect the kind of artist who overthrows something in art history.

　　Q: Why did you come to Songzhuang?

　　A: Fate.

　　Q: How long does it usually take from the time of an idea of a painting until the

　　finished piece?

　　A: It all depends.

　　Q: Why do you choose to work with oil paint?

　　A: It is the need of the work itself.

　　Q: What are your thoughts concerning the modern art scene in China?

　　A: It has never been so flourishing as today. It is so exciting, and we can only let

　　time judge it.

　　Q: Do you see yourself as being a Cynical artist, or just a modern artist?

　　A: No. I am just a member of that group called modern.

　　Q: Any plans for future?

　　A: I just want to make things better.