Both ink and gauche - two of the representative media of Eastern art - have long histories and unique characteristics. They have also respectively been considered the mainstream art forms in different times and regions. I began to study ink painting and gauche painting when I was an undergraduate student, learning a wide range of themes and genres including the ancient silk-cloth painting, mythology painting, religious painting, sophisticated flower-and-bird painting and so forth. At the same time, I also dedicated myself to studying extensively classical Chinese literature which shared the same intellectual roots as Chinese painting and calligraphy. Regardless of the subject matters or the media employed, art is always filled with a great sense of vitality which touches the hearts of the audience. From my own experience, I have come to realize that the "five shades" of ink seem to be insufficient to satisfy my need for more suitable artistic forms. I was therefore gradually shifting from ink painting to gauche painting. After graduating from university, I traveled to Japan to study modern Japanese gauche painting. Apart from immersing myself in the study of Japanese culture and artistic techniques which showed strong influence from the Chinese culture of the Tang and Sung Dynasties, I also sought to grasp the essence of both classical and modern artworks and to explore the factors shaping the transformation and innovation of gauche painting from the angles of art history, aesthetic theories, material analysis, base-material studies and so forth. Thanks to the influence of my grandmother, who is a devout Buddhist, I became rather familiar with religious materials from a young age. I was particularly interested in religious symbolism It seems that as one goes through the journey of life, he or she would almost inevitably suffer what Buddhism calls the "shackles of emotions" at some point. Desire seems to be lurking in any time and space, or under the veneer of any identity. However, such restless desire is precisely the driving force behind the moving stories and images that enrich our world which is infused with love and desire. My work expresses my feelings and emotions at different times and places through every facial expression and body movement of the characters. Hopefully it also serves as a reflection of the cultural phenomenon and social reality of our time, telling fantasy stories that are unlikely in the actual life by using concrete yet dream-like imagery, resplendent symbolism and ornamental patterns.