After depicting the profundities of antique objects and lotus flowers, my Faramita series was an expression of my increasingly strong internal leanings towards the mysterious forces of Eastern spirituality. As I see it, religion is the sacred fruit of culture and history that grows on the tree of time, the imagining of and yearning for a transcendent force amidst the undulations of destiny. I am particularly enamored with the combination of cultural values and humanism in Buddhist and Zen concepts. The Buddha broke out of the cage of time, and that’s connected to my own perceptions of time.

The works of the Paramita series are all 1.8 meters squared. I feel that these images must be large to have power. In the pictures, a giant Buddha hand is forming the Dharmachakra Mudra, gently caressing us like the warmth of the sun. The Buddha’s hand is gentle, like his smile, full of acceptance for the world, contrasting with the silent, clean Yuan Dynasty painter Ni Yunlin-style landscape in the background. When making these works, I intentionally added a watermark texture to the grey sky, as if the clouds were being blown about by a breeze. A butterfly flies towards the Buddha’s hands; she is delicate, like a personification of the self, cycling through life and death. In her pursuit of Faramita, the other shore, she has completed an examination of the self by life.