我一直以来对当下的艺术潮流保持某种距离，并以观察者的角度而不是以投身于其中的方式参与我们这个时代。如今被奉为内核的“观念”实际上正在危及创作行为本身的合法性。然而 “观念”是非常自然和流动的，应该像呼吸一样流动且鲜活。相反以“观念”为先导并将之视为一个固化的实体会让整个创作过程停滞在不可被感知的“命题”和“判断”层面，而“命题”和“判断”最有利的形式却是文字和语言。当一件艺术作品被“命题”和“概念”统摄，则有悖于以感知为通道的创造本身。然而我不愿意被这样的一些问题困扰。完成一件作品对我来说是存在论意义层面的，而非概念和逻辑层面。在创作这条路上已行进了许久，虽仍未能抵达终点，但也正是这未能抵达才成为始终行进的动力。

    I have always maintained a certain distance from the art trends of the present, participating in our era as an observer rather than by throwing myself into it. What is now enshrined as the core—concept—is in fact endangering the legitimacy of the creative act itself. Yet concept is something very natural and fluid; it should flow and be alive like breathing. On the contrary, taking concept as a guide and treating it as a solidified entity causes the entire creative process to stagnate at the level of imperceptible propositions and judgments, while the most favorable form for propositions and judgments is writing and language. When a work of art is governed by propositions and concepts, it runs counter to creation itself, whose channel is perception. Yet I am unwilling to be troubled by such questions. Completing a work is, for me, a matter of ontological significance, not of concept and logic. I have already traveled a long way on this path of creation, and although I have still not reached the end, it is precisely this failure to arrive that has become the driving force for always moving forward.

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