About

I graduated from the University of Washington, where I studied contemporary art and art theory. However, unwilling to commit too early to an established mode of artistic practice, I chose to pursue rigorous training in oil painting, seeking to develop a more direct relationship with images, materials, and embodied experience.

A sense of abandonment during childhood left me with a persistent feeling of unease. Moving abroad alone at the age of fifteen intensified this insecurity, along with a growing desire for control. My experiences have often been shaped by impulsiveness, repeated failures, aggressive impulses, and an imagination that has never been entirely at rest. These contradictions gradually became central to how I understand myself and my artistic practice.

Walter Sickert has long been my favourite artist. I am particularly drawn to the psychological ambiguity of his paintings and the way ordinary interiors and figures can suggest unease without revealing a clear narrative. Through studying the painting approaches of Frank Auerbach and Leon Kossoff, I also developed an appreciation for the physicality of materials, the intensity of observation, and the struggle between intention and uncertainty. I subsequently travelled extensively, encountering different social environments and ways of life. Photography eventually became my chosen medium for pursuing more advanced artistic training, offering a direct yet psychologically complex way of engaging with the world.

At the same time, I returned to painting and expanded my practice into drawing, digital modelling, sculpture, and performative actions. Rather than understanding these transitions as changes of discipline, I now see them as different attempts to negotiate the same underlying tensions: insecurity and control, desire and frustration, observation and intrusion.

I began as a painter, became a photographer, and ultimately returned to what I had been moving towards all along: a practice grounded in contemporary art, where the boundaries between media are secondary to the psychological and conceptual questions that drive the work.

艺术家简介

我毕业于华盛顿大学，在校期间学习了当代艺术与艺术理论。然而，由于不希望过早地进入某种既定的艺术创作模式，我选择转向油画训练，希望通过绘画建立自己与图像、材料和身体经验之间更直接的联系。

童年时期的被抛弃感，使我长期处于一种持续的不安之中。十五岁独自出国生活的经历，进一步强化了这种不安感，以及随之而来的掌控欲。我的人生经历常常伴随着冲动、反复的失败、攻击性冲动，以及始终无法平息的想象力。这些相互矛盾的特质，逐渐成为我理解自身及艺术实践的重要线索。

沃尔特·西克特（Walter Sickert）一直是我最喜欢的艺术家。我尤其着迷于他绘画中的心理暧昧性：普通的室内场景与人物，无须揭示明确的叙事，也能传递出不安。通过学习弗兰克·奥尔巴赫（Frank Auerbach）与莱昂·科索夫（Leon Kossoff）的绘画方法，我也逐渐理解了材料的身体性、观察的强度，以及意图与不确定性之间持续存在的冲突。此后，我开始在世界各地旅行，接触不同的社会环境与生活方式。最终，我选择摄影作为接受更高层次艺术训练的主要媒介，因为摄影为我提供了一种直接而又具有复杂心理关系的方式去接触世界。

与此同时，我重新开始油画训练，并逐渐将实践扩展至绘画、数字建模、雕塑与行为。我不再将这些变化理解为不同艺术门类之间的转换，而是将它们视为对同一组内在矛盾的持续探索：不安与控制、欲望与挫败、观察与侵入。

我最初是一名画家，后来成为摄影师，最终又回到了自己一直试图接近的方向——一种以当代艺术为基础的实践。在这一实践中，媒介之间的界限不再是最重要的，真正推动创作的是那些持续存在的心理经验与观念问题。