(text by artist)
當然，盆景文化，並不純粹是「創造一個微縮的世界」，它是有生命的，或者有文化參照的，與四季氣候互動而持續成長，甚至由一代一代的人去維持。以繪畫去表達的時候，畫面將時間停頓在一刻，那份「生命的，或者有文化參照的，與四季氣候互動而持續成長」是藝術家本身，而不是一盆盆實質的盆景(Bonsai) 。從風景(landscape painting) 到盆景（Potted Landscape）系列的繪畫，我享受了在水墨畫裡，木刻版畫裡，以至在一些日本的古籍裡自由暢遊的樂趣，也開放了創作的方式，以我在繪畫的體會，介入不同的創作媒介。而隨著個人的經驗變化，參照「中國文化」這個系統受到了動搖，也想到自己土生土長的地方－香港，於是，從盆景就發展到盆景城市（From Potted Landscape to Potted City）。
From Potted Landscape to Potted City
My fascination with bonsai is found on the concept that it is a manifestation of ‘a world created in a small space’. The sense of pure joy that the practice brings is identical to that of the childhood experience, where we create ‘a world in the box’ as we rearrange toys in a small cabinet or drawer. This joy has always been one of my substantial sources of motivation, and I would defend it at all costs against any peril that can cause the feeling’s demise.
The culture of bonsai is not merely about ‘creating a diorama of the world.’ It contains life, integrates references from culture, grows by reacting to seasons, and is sustained by generations of caretakers. In the expression of drawing, the produced image halts the passage of time. Instead of pots of bonsai, it becomes the artist that contains life, integrates references from culture, and grows by reacting to seasons. From landscape painting to the drawings of potted landscape, I immerse myself in ink painting and woodcut printmaking, along with the pleasure of diving in classical Japanese manuscripts. My artistic method is contentedly open to the intervention of different mediums in my usual practice of painting. As personal encounters expand, my system of referring to the broad concept of “Chinese culture” is abashed, and I am reminded of the city where I find my roots –– Hong Kong. Hence, Potted Landscape cultivates into Potted City.