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中國文人畫介入及處理「風景」（山水）的方式非常吸引我，當我著力研究文人山水時，發現不止是藝術媒介或工具之不同，更重要的在於它「如何觀看自然」及「探索物我的關係」。中國繪畫史中，最吸引我的是宋元兩代的繪畫，它濃縮了繪畫史成熟豐盈的演變，以視覺形式充分地呈現人與物的意識關係：大和小、遠和近、動和靜、重和輕、繁和稀、快和慢、密和簡、知和不知、理性和感性、理想和現實。 我著力於所有的創作中實踐上述的精神。  

How Chinese literati paintings get involved in and handle "landscape" (shanshui) really intrigues me. Studying literati shanshui has made me realised that it is not merely the mediums or tools that make the genre different, more importantly, the genre's own perspective of nature and its exploration of subject-object relations. In Chinese painting history, Song and Yuan paintings captivate me the most. They capture the mature development and rich history of Chinese painting, as well as adequately conveying the human perception of their relationship with objects through visual presentations of: the large and small, distant and close, moving and still, heavy and light, abundant and sparse, swift and slow, intricate and simple, informed and uninformed, rationality and sensibility, ideal and reality.  I endeavour to express such essence in all of my artistic creations.