《空山》系列的灵感源自我在山中乘缆车时见到的景象。现代城市生活中人与自然日益疏远，我们对它的理解往往被压缩为抽象概念或快餐式的虚拟图像浏览。唯有亲身进入山林之时，我才获得了一种对自然较为完整的体验。山谷的半空雾气弥漫，仿佛一片介于实存与虚无之间的模糊地带。它虽不完全等同于海德格尔描述的希腊式经验，但仍是作为“涌现”的自然之显现-遮蔽循环运作的另一种东方式含蓄表达。朦胧的风景不断变化，若隐若现，却又保持着某种不变的秩序。这使我想起自然并非冰冷的背景，它与人类出于同一更高的源头。在此意义上人与自然皆为平等的受造之物，或多或少分有神圣的痕迹。    

为了表达这种陌生而又亲近的独特体验，我主要采用薄涂的方式作画，保留自由的用笔痕迹，同时运用纯度较低的节制色彩。山林那律动着的空灵氛围中蕴藏着无限的丰富性，不断引发我本能的绘画冲动。我希望通过对这一主题的反复描绘，逐渐接近作为普遍启示的自然所提示的奥秘。

The Hollow Mountain series originates from my sensory experiences riding the cable car in the mountain. In modern urban life, we are increasingly alienated from nature, and our understanding of it is often reduced to conceptual abstractions or fast-food-like virtual image browsing on screens. Only when I physically immerse myself in the mountain landscape do I gain a more complete and profound experience of nature. Suspended in the midair of the valley, the fog creates an ambiguous zone between being and nothingness. This experience diverges from the Greek concept of "Physis" as described by Heidegger, yet it resonates as an Eastern, implicit expression of the "revealing and concealing" cycle—nature operating as a continuous "emergence." Within this hazy, flickering landscape, a constant order persists, reminding me that nature is not a mere backdrop, but a presence sharing the same higher origin with us. In this sense, humankind and nature are equal creatures, with more or less traces of the divine.

To convey this unique experience—marked by both alienation and connection—I prioritize the fluidity of the medium, applying thin, oil-rich layers to preserve the vitality and spontaneity of the brushwork. At the same time, I adopted a restrained palette of low-saturation colors. The rhythmic and ethereal atmosphere of the mountain contains infinite richness, which constantly triggers my instinctive urge to paint. By repeatedly depicting the same theme, I hope to gradually approach the mystery suggested by nature as a form of General Revelation.