This past January, Wu Chi-Tsung was invited to the Anderson Ranch Arts Center in Colorado, USA, as a 2026 Visiting Artist. During his residency, he worked on campus, exchanged ideas with the Ranch’s resident artists and students, and gave a public lecture and studio tour, sharing the trajectory of his practice and his experiments with materials.
Founded in 1966 and celebrating its 60th anniversary this year, the Anderson Ranch Arts Center is an internationally renowned center for art-making and critical dialogue. For decades, through its residencies, lectures, and workshops, it has brought artists together to exchange ideas and experiment with new and unprecedented forms of art. The Visiting Artists program is a core part of the Anderson Ranch Arts Center experience, offering artists dedicated time, space, and technical support to develop new work in dialogue with the community.
This residency deepened Wu’s affinity with Anderson Ranch’s mission and his fondness for the place and its people. Wishing to give back, to help sustain its work, and to benefit more artists, he has donated Cyano-Collage 274 in support of the live auction held during the Ranch Gala on July 15. As the center’s most important annual fundraiser, the auction channels its proceeds into scholarships and access to faculty and studio resources, nurturing emerging artists.
Wu Chi-Tsung’s lecture in Anderson Ranch Arts Center 吳季璁在安德森牧場藝術中心的演講
今年一月，吳季璁受邀前往美國科羅拉多州的安德森牧場藝術中心（Anderson Ranch Arts Center）擔任 2026 年客座藝術家（Visiting Artist）。駐村期間，他於園區內進行創作、與當地駐村藝術家及學員交流，並舉辦了一場公開講座與工作室導覽，分享自身的創作脈絡與媒材實驗。
Wu Chi-Tsung’s Wire IV will be featured in Black Myth, the latest major exhibition at White Rabbit Gallery in Sydney. The exhibition opens on 25 June 2026 and runs through 8 November 2026.
One of Australia’s foremost private museums devoted to contemporary Chinese art, White Rabbit Gallery was founded by collector Judith Neilson and holds a collection of more than three thousand works. Black Myth takes its inspiration from the viral video game Black Myth: Wukong (2024) and the literary classic it reimagines, Journey to the West, tracing the idea of the journey in all its forms—from physical travel to time travel, from inner odysseys to cosmic voyages—delving ever deeper into distinctly Eastern visions of transformation and transcendence.
Begun in 2003, Wu’s Wire series uses the basic structure of a slide projection: through mechanically controlled, continuously shifting focus, an ordinary piece of wire mesh is transformed into a moving image evocative of a Chinese landscape, exploring how the image reshapes the way we see and imagine the world. Created in 2009, Wire IV takes the “sense of distance” in the image as its theme. Zooming is a way of seeing that belongs purely to the recording apparatus, creating a “fictional sense of distance” detached from a person’s actual position, distance, and perspective in space. The image changes how we look at the world and reconstructs our perception of reality, granting us unprecedented freedom—with one minor side effect: it becomes hard to remember where we stand when we look at the world.
Cyano-Collage 275 氰山集之二百七十五 130 cm x 90 cm x 2 panels, 2026
Wu Chi-Tsung’s new works from the Cyano-Collage Series, No. 253 and No. 275, will be exhibited at Sean Kelly Gallery’s booth at Art Basel in Basel this week. As one of Wu’s most significant ongoing series since 2015, the Cyano-Collage Series transforms the brushwork and texture strokes of traditional ink painting through cyanotype and photogram. Using Xuan paper, photosensitive chemicals, sunlight exposure, and collage, the series constructs a visual space suspended between shanshui, landscape, and photographic montage, carrying forward the aesthetic spirit of traditional art through a contemporary artistic form. The textures that emerge as the paper reacts to sunlight and chemicals are themselves a translation of the “cunfa”—the texture strokes of classical ink painting—into a photographic language.
Wu has continued his material experimentation, extending his supports from wooden baseboards to metal panels such as aluminum and brass—not only to achieve greater durability but also to harness their polished sheen to evoke the shifting light of the sky. The reflective surface lends a spatial dimension to what were once planar works, drawing the light and shadow of the surrounding environment, along with the viewer’s own perspective, into the work itself. In the two pieces shown in Basel, the polished aluminum panels create a distinct reflection that filters through the Cyano-Collage landscape, opening new possibilities for the series.
This year marks Wu Chi-Tsung’s fourth presentation of Cyano-Collage new works at Art Basel in Basel with Sean Kelly Gallery, having participated in three consecutive editions from 2022 to 2024. He had been mounting the series on aluminum panels since 2021, and Cyano-Collage 130 in 2022 marked his first use of a brass panel as a support, continuing his experimentation with metal.
Installation view of Dust 002 presented by Sean Kelly at Art Basel Unlimited 2023 《灰塵 002》由尚凱利畫廊於巴塞爾藝術展「意象無限」展區呈現
In 2023, alongside four new works from the Cyano-Collage Series, Wu presented the immersive video installation Dust 002 in Unlimited—Art Basel’s pioneering platform for works that transcend the conventional fair booth, including large-scale sculpture, painting, video projection, installation, and live performance. Wu was the first Taiwanese artist selected for Unlimited—a milestone that held particular significance for him, marking international recognition of years of experimentation and the chance to present his own visual language as a large-scale immersive installation on one of contemporary art’s most closely watched stages. First created and exhibited during Wu’s 2006 residency in the UK, and shown since in Germany, Luxembourg, the United States, Riyadh, and Taipei, the Dust Series continues his exploration of light, the image, space, and perception. In a darkened room, a camera faces the direction of a projector’s light; dust drifting through the air reflects that light and is magnified onto the screen. As viewers move through the space and disturb the air, the flickering image of dust shifts continuously—a fleeting language written by motion and chance, revealing how our very presence continuously shapes the world around us.
Installation view of Dust 002 presented by Sean Kelly at Art Basel Unlimited 2023 《灰塵 002》由尚凱利畫廊於巴塞爾藝術展「意象無限」展區呈現
For Wu Chi-Tsung, Basel has never been only a stage for showing work; it has also been where lasting bonds are formed––with collectors, institutions, and the land itself. One such bond began with a Swiss couple who acquired an early piece, Cyano-Collage 006, and hung the long horizontal scroll in their home in the Swiss mountains. When Wu saw the work set against the range beyond the window––the mountains born of sunlight and the texture of Xuan paper echoing the real Alps outside––he was deeply moved. The images of the Cyano-Collage Series are rooted in nature and transformed through photography and collage; placed within a real mountain landscape, the work seemed to have returned to where it was always meant to be.
For Wu, this is what collecting can mean at its most moving: a work that is no longer simply an image on a wall, but one that enters a collector’s life and surroundings, breathing alongside their days, their memories, and the landscape around them. The closeness between people and nature in Swiss culture resonates with the very spirit that East Asian shanshui has long sought––allowing this work, in mountains far from home, to find a second kind of belonging.
In 2026, Wu returns to Basel with new works from the Cyano-Collage Series, continuing his sustained presence at one of the world’s foremost contemporary art fairs.
Lying Moon presents a moon lying horizontally on the ground. It is an inflatable structure filled with water, inviting viewers to step onto its surface. Each step generates rippling water sounds, creating a physical interaction between the body and the lunar form. Drawing from the imagery of the moon reflected on water, the work transforms humanity’s hard-to-reach desire for lunar exploration into an accessible and tangible encounter. Viewers may walk, linger, or even lie down upon this “moon” on the water, transforming the gaze into a tangible bodily encounter.
Its surface is sculpted with a mixture of fine sand and cement, imprinted with craters and rough textures, then re-composed through photography and digital collaging to create a “false moon.” The word “lying” in the title refers not only to the moon’s reclining posture and the possibility of humans lying upon it, but also carries the implication of a “lie.” The moon we see here is not real but a construct, pieced together from cultural imagery and collective memory. Positioned between truth and fiction, Lying Moon responds to and bears humanity’s desires, imaginations, and romantic projections onto the moon.
Wrinkled Texture 182 皴法習作之一百八十二 133 cm x 93 cm, 2026
In early May, Wu Chi-Tsung, in collaboration with Sean Kelly Gallery in New York, will donate his new work Wrinkled Texture 182 to the Asian Cultural Council1(ACC) 2026 Gala auction in support of its New York headquarters. Held at New York’s Rainbow Room, this year’s biennial gala will honor acclaimed actress Michelle Yeoh and Blanchette Hooker Rockefeller Award2 recipient Wendy O’Neill, continuing ACC’s more than six-decade mission of fostering cultural exchange between Asia and the United States.
Wu Chi-Tsung has long been committed to international cultural exchanges. Following his recent donations to ACC’s Hong Kong and Taiwan chapters, this contribution to its New York headquarters represents not only an act of support and a way of giving back, but also reflects the inspiration he drew from his residency in New York. Through this act, he hopes to carry forward these resources and values, supporting emerging artists and contributing to the continued development of the broader art ecosystem.
5 月初，吳季璁將與紐約 Sean Kelly Gallery 共同捐贈新作《皴法習作之一百八十二》，於亞洲文化協會1（ACC）2026 慈善晚宴上義賣，以支持 ACC 紐約總部。這場兩年一次的晚宴將於紐約 Rainbow Room 舉行，今年特別表彰知名演員楊紫瓊（Michelle Yeoh）與布蘭切特・胡克・洛克菲勒獎2（Blanchette Hooker Rockefeller Award）得主 Wendy O’Neill，延續 ACC 六十多年來推動亞洲與美國之間文化交流的使命。
Wu Chi-Tsung’s studio during his 2013 residency at Triangle Arts Association in New York 吳季璁 2013 年於紐約駐村期間，位於 Triangle Arts Association 的工作室
In 2013, Wu Chi-Tsung received an ACC fellowship to undertake a six-month residency in New York. He was prompted to apply after reading the catalogue of The Third Mind: American Artists Contemplate Asia, 1860–1989, organized by the Solomon R. Guggenheim Museum in 2009. This exhibition, which traced the profound influence of Asian art, literature, and philosophy on American modernism, led Wu to realize that Asian culture is not merely a passive reference within Western art, but an indispensable intellectual force, sparking his curiosity about New York’s contemporary art scene.
Having studied both traditional ink painting and Western painting from a young age, Wu shifted toward image-based practice during his university years, and has since continuously reflected on how to reconnect traditional painting with the language of the image. Beginning in 2003, his Wire series of installations transformed crumpled wire mesh into dynamic shan-shui (Chinese landscape) imagery through a slide-projection-like structure. In 2009, his Still Life series reinterpreted the motif of broken branches and flowers from traditional ink painting through the language of video, ingeniously translating pictorial “blank space” into light by filming underwater. In 2012, Wrinkled Texture drew inspiration from “cun-fa,” the brush techniques used to render the texture of rocks and mountain terrains in shan-shui painting. Wu coated Xuan paper with photosensitive cyanotype chemicals, crumpled it, and exposed it to sunlight, using photogram techniques to record the chance interplay of light and shadow on the wrinkled surface, creating images that evoke precipitous mountain forms. This creative trajectory, which continually weaves together Eastern and Western cultures and traditional and contemporary artistic practices, together with years of exhibiting and engaging in exchange across Europe, deepened Wu’s desire to travel to New York, a melting pot of culture and art.
Wire I 鐵絲網 I Dimensions variable, 2003 Wrinkled Texture 08 皴法習作 08 139 cm x 70 cm, 2012
However, once in New York, his practice took a direction entirely different from his original proposal. Wu is deeply grateful to ACC for the freedom it afforded him, allowing him to set aside his initial framework and turn instead toward an in-depth investigation of Western material traditions—including the preparation of traditional oil painting grounds, the structural mounting of canvas and stretcher, and the ways in which drapery in Greco-Roman sculpture articulates a sense of form and weight. This period of material experimentation ultimately developed into the Drapery Study series, laying a key technical and conceptual foundation for his subsequent practice.
Drapery Studies 001 布紋習作 001 Dimensions Variable, 2014 Wu Chi-Tsung’s Drapery Study series, created during his New York residency 於紐約駐村期間創作的《布紋習作》系列
Wu Chi-Tsung once briefly served as an assistant to Ni Tsai-Chin through his friend Ni Yu-an (a fellow artist and Ni’s eldest son). Ni Tsai-chin was a prominent Taiwanese ink painter, art historian, and critic who had served as director of the National Taiwan Museum of Fine Arts. Deeply grounded in tradition while remaining widely engaged with contemporary art, Ni was known for his innovative contributions to ink painting. His 1991 essay “Western Art: Made in Taiwan” sparked widespread debate through its articulation of cultural subjectivity in Taiwan, while his representative work A Lost Country employed ink collage to depict the fractured terrain in the aftermath of the 1999 Jiji earthquake. Ni Tsai-chin’s work inspired Wu Chi-Tsung’s artistic practice, prompting him not only to reconsider Chinese cultural traditions, but also to develop a broader perspective on cultural subjectivity in Taiwan and even across Asia.
In early spring 2015, Ni Tsai-chin passed away after an illness. To pay tribute to this important mentor, Wu Chi-Tsung drew on Ni’s ink collage approach, combining the techniques of Wrinkled Texture with the material research of Drapery Studies to create the Cyano-Collage series in 2016. He adopted the preparatory techniques of classical realistic oil painting—mounting linen onto a wooden panel with rabbit skin glue and applying a gesso ground (methods developed while working on Drapery Study), before adhering Xuan paper onto the surface, securing it with acrylic medium, and finishing with varnish. From 2021 onward, Wu has continued his material experimentation, extending his supports to metal panels and harnessing their polished sheen to evoke the shifting light of the sky. The reflective properties of metal also lend a spatial dimension to what were once planar works, incorporating the light and shadow of the surrounding environment, along with the viewer’s perspective, into the work itself. The imagery of the Cyano-Collage series presents striking landscape motifs. Conceptually, it continues Wu’s integration of Eastern and Western traditions, past and present; materially, it brings together knowledge and techniques from both.
Accordingly, in Wrinkled Texture 182, the artwork donated to ACC this time, Wu deliberately preserves the exposed linen edges at the top and bottom, along with traces of sizing and ground, as a way of commemorating his material explorations in New York back in 2013. In terms of proportion, the head margin (sky) is broader than the foot margin (earth), echoing the classical scroll principle that the sky should be wider than the earth. The work thus resembles a fragment of a handscroll; what was once a planar surface between photography and painting is reconfigured into an object with a sculptural presence.
Detail view of part of Wrinkled Texture 182 《皴法習作之一百八十二》局部照
“I used to prefer a cleaner finish—working toward a resolved form that could speak for the idea directly. But my mindset has shifted lately. There’s something closer to Happening in how I work now—looser, more open to the unexpected. What occurs in the process, what the material does on its own—I let it stay. It becomes part of the work.”
For Wu Chi-Tsung, Wrinkled Texture 182 is a unique and difficult-to-categorize work that sits between his Wrinkled Texture and Cyano-Collage series. It brings together elements from both while reflecting the evolution of his thinking over more than a decade. Through this work, he also hopes to express his sincere gratitude to ACC for its support at a pivotal moment in his artistic journey.
The Asian Cultural Council (ACC), founded by the American philanthropist John D. Rockefeller III, is a global nonprofit organization headquartered in New York that supports and funds fellowship programs fostering cultural exchange between the United States and countries throughout Asia. Since its establishment in 1963, ACC has awarded more than USD 100 million in grants, supporting over 6,000 cultural exchanges across 16 artistic disciplines in 26 countries and regions. 亞洲文化協會（Asian Cultural Council, ACC）是一個在紐約創立並設立總部的全球性非營利組織，由美國知名慈善家約翰．洛克菲勒三世（John D. Rockefeller 3rd）創立，提供與募集獎助金，推動美國與亞洲各地的文化交流。自 1963 年成立以來，ACC 已挹注超過 1 億美金贊助 6 千多個文化交流，跨越 16 項藝術範疇，遍佈 26 個國家及地區。 ↩︎
The Blanchette Hooker Rockefeller Award, established in 2009, commemorates the first chair of ACC and the wife of John D. Rockefeller III. Sharing her husband’s deep commitment to Asian art and culture, she was also guided by a vision of creating a better world. The award honors philanthropists who, in partnership with ACC, have made significant contributions to fostering international dialogue, understanding, and mutual respect between Asia and the United States. 布蘭切特・胡克・洛克菲勒獎（Blanchette Hooker Rockefeller Award）成立於 2009 年，以紀念 ACC 第一任主席，約翰・洛克菲勒三世（John D. Rockefeller 3rd）的妻子。洛克菲勒太太與丈夫共同有著對亞洲藝術及文化的熱誠，及創造一個更美好世界的願景。獎項表揚慈善家，他們與 ACC 合作，為發展亞洲及美國的國際對話、了解及尊重，作出良多貢獻。 ↩︎
Wu Chi-Tsung’s new work, Cyano-Collage 266, is currently on view at Galerie du Monde’s booth at Art Basel Hong Kong. As one of Wu’s most significant ongoing bodies of work since 2015, the Cyano-Collage series transforms the brushwork and texture strokes of traditional Chinese painting through the language of photogram. Using Xuan paper, photosensitive chemicals, sunlight exposure, and collage, the series constructs a visual space suspended between shanshui, landscape, and photographic montage, while seeking to carry forward the aesthetic spirit of traditional art through a contemporary artistic form.
In this new work, Wu Chi-Tsung brings the Cyano-Collage series to a new stage. Within the series, the traces of light and shadow produced by the wrinkled paper remain relatively abstract; it is the skyline that gives shape to the viewer’s perspectival imagination of a two-dimensional space. In Cyano-Collage 266, however, the deliberately preserved fold along the lower edge of the work expands that spatial dimension beyond the image itself and into physical reality. In doing so, the work also extends Wu’s recent inquiry—from the Wrinkled Texture series to Wrinkled Texture: Fading Origin—into the differences between analog and digital reproducibility, while attempting to preserve and make visible the unique, unrepeatable moments that emerge in the process of creation.
Wu Chi-Tsung notes, “In the past, I tended to resolve my works more cleanly, using purified form to articulate an idea with greater clarity. Recently, however, I have been thinking somewhat differently. I want the material itself, as well as the process of making, to carry meaning. In this work, I have tried to preserve many of the traces left by the making process, allowing the wrinkles of the paper and the naturally flowing watermarks to become part of the composition.”
For Wu, whether a work has truly reached completion often depends on whether the viewer’s gaze can move freely within it. In this sense, the work recalls Guo Xi’s Northern Song painting theory, articulated in Lofty Message of Forests and Streams (Linquan Gaozhi), in which landscape is conceived not as a fixed image but as a space that one can reach, appreciate, wander through, and dwell in. What emerges, then, is a space in which both vision and imagination may move freely. The space within the work is generated not only by the moment of exposure recorded in the image, but also by the shifting light across the undulating material surface in the present moment of viewing, as well as by the traces left behind through the movement of water. In encountering Cyano-Collage 266, the gaze is first drawn into the depth of the image through sky, mist, and mountainous form, then extends along the direction of the flowing marks—at times descending like mist cascading downward, at times circulating upward along the folds of the paper. These movements respond not only to vapor and mountain form, but also to the actual creases of the material surface, continually shifting between illusion and physicality.
While Wrinkled Texture: Fading Origin foregrounds the loss of information inherent in analog reproduction, Cyano-Collage 266 returns to the same core question by another route: when the image no longer functions merely as representation, but becomes entangled with time, chance, surface folds, and perceptual experience, the work is no longer simply photography, nor merely painting, but a site in which vision itself continues to unfold. For Wu Chi-Tsung, this new work marks an important milestone within the Cyano-Collage series. It not only extends the series’ underlying dialogue with Eastern aesthetics, but also opens up a new conversation between photography and painting. This quality of moving across distinct yet overlapping fields—image-making, painting, ink traditions, conceptual practice, and new media art—is not unique to Cyano-Collage alone, but is in fact one of the defining characteristics of Wu’s broader artistic development and way of thinking.
Detail view of the lower left corner of Cyano-Collage 266 《氰山集之二百六十六》左下角局部照
吳季璁的新作 《氰山集之二百六十六》，正於巴塞爾藝術展香港展會（Art Basel Hong Kong）gdm爍樂畫廊中展出。作為自 2015 年起持續發展至今的重要創作系列，《氰山集》以氰版直接攝影（photogram）替代傳統書畫中的筆墨：以宣紙、感光藥劑、日曬曝光與拼貼，建構出介於山水、風景與攝影蒙太奇之間的視覺空間，希望藉由當代的藝術形式，傳承傳統藝術中的美學意境。
Installation view of Dust 002 at Noor Riyadh 《灰塵 002》於利雅德光之藝術節展覽現場
Wu Chi-Tsung’s installation Dust 002, previously presented at Art Basel Unlimited 2023, was exhibited in Riyadh and Taipei from late 2025 to early 2026, continuing his exploration of light, image, space, and perception across different urban and curatorial contexts. Dust 002 is itself a real-time image installation: a camera is directed toward the beam of a projector, while dust particles suspended in the air reflect the projector’s light much like the moon reflects sunlight. As viewers move through the space and disturb the air, the image changes instantly, generating an evolving relationship among the artist, the viewer, the moving image medium, and chance. Through the camera, the work constructs a viewing system that relocates human vision into the world of dust, yet what appears before us feels almost like another universe.
In 2025, internationally active new media curator Li Zhenhua invited Wu Chi-Tsung to present Dust 002 at Riyadh’s annual light festival, Noor Riyadh. The organizers described the work as a form of “living drawing” and “calligraphy” written by air and chance: dust drifts through the beam of light, its paths briefly appearing before quickly dissolving, like a transient language composed jointly by motion and accident. In designboom’s coverage, the work was likewise described as transforming light into a subtle atmospheric movement, allowing particulate illumination to drift across the surface like suspended dust.
In the Taipei Astronomical Museum’s 2026 New Year special exhibition, In the Interstice of Light, Dust 002 entered an entirely different yet deeply compelling context. This marked the museum’s first exhibition centered on art curatorship. Rather than focusing on the transmission of knowledge or any single scientific principle, the exhibition pointed to a simple yet profound proposition: light not only renders things visible, but also reveals what would otherwise remain unseen. Curator Makoto Lin and Head of Exhibitions Hsieh Hsiang-Yu brought together contemporary art, astronomy, and physical thought in an effort to open up the perceptual boundary between the visible and the invisible. Wu noted that, although this was the museum’s first attempt at presenting an art exhibition, the institution’s respect for both the artist and the work resulted in an installation that far exceeded the presentation in Riyadh.
And yet, this work—well known to many, seen by some at Art Basel Unlimited, but still unseen by most audiences in Taiwan—did not make its Taiwanese debut in an art museum. Instead, it was first presented in a space shaped by science and education: the Taipei Astronomical Museum, where it was newly encountered and reinterpreted.
Within the exhibition, Dust 002 was placed at the deepest point of the gallery and, for the first time, presented as a monumental vertical projection, making the act of viewing feel closer to gazing up at the night sky. The originally microscopic dust particles, captured within a real-time feedback system composed of an astronomical telescope, a camera, and a projector, were elevated to a visual scale reminiscent of stars and the cosmos. As viewers entered the gallery, their bodily movement stirred the air, causing the dust image to shift; when they stood still, the image gradually settled. In this way, the work made one aware of how one’s own presence is constantly affecting the surrounding world, while also offering an experience that was at once scientific, poetic, and quietly romantic.
The presentation at the Taipei Astronomical Museum also opened up another unexpectedly rich layer of interpretation. Hsieh Hsiang-Yu observed that when a finger was brought close to the lens, the light spots would reveal the shadow of the finger. Most of these shadows appeared upright, while a smaller number appeared inverted. This phenomenon depends on whether the dust particles are positioned in front of or behind the focal plane, resulting in either an upright or inverted image. Such close observation then led to discussions of the scientific principles involved, which Wu found especially fascinating, and further encouraged his hope for future collaborations that bring together scientific phenomena and educational outreach.
Installation view of Dust 002 at Taipei Astronomical Museum 《灰塵 002》於臺北市立天文科學教育館展覽現場
Wu Chi-Tsung’s Drawing Study Series will be presented at the group exhibition “Shadow and Void: Buddha¹⁰” at ESEA Contemporary in Manchester. The exhibition, a collaboration between the gallery and MAO (Museum of Asian Art, Turin), is curated by Xiaowen Zhu and Davide Quadrio. It intertwines scientific studies, contemporary art, and spirituality by showcasing recently restored Buddhist sculptures from the seventh to the eighteenth centuries CE, on loan from MAO, alongside contemporary works by Shigeru Ishihara, Lee Mingwei, LuYang, Sun Xun, Sinta Tantra, Wu Chi-Tsung, and Zheng Bo. The exhibition includes three new commissions created specifically for “Buddha¹⁰.”
The conceptual genesis of ‘Buddha¹⁰’ traces back to 2022, emerging from MAO’s critical initiative to excavate, analyze, and recontextualize its Buddhist artifacts. This scholarly endeavor poses essential questions about provenance, institutional presence, and the complex trajectories that brought these sacred objects to an Italian museum—interrogating not just their physical journey but their cultural translation and transformation.
Within this context, Wu Chi-Tsung presentsDrawing Study — MAO Bodhisattva Guanyin, Ming-Qing Dynasty, a work that extends his innovative series initiated in 2021 during his collaboration with TAO ART SPACE in Taipei. Through an ethereal methodology, Wu employs light as his medium, wielding a flashlight as a luminous brush to trace the spectral presence of ancient Buddhist statuary. This specific piece to be exhibited —commissioned and acquired by MAO—capture the essence of a Buddha statue from the museum’s permanent collection. As light trails materialize in space, they gradually reveal the statue’s form, creating a meditative choreography that embodies yūgenism—that ineffable quality of profound grace and subtle beauty. This temporal-spatial intervention orchestrates a contemplative dialogue between contemporary artistic practice and centuries-old devotional objects, weaving a philosophical thread through time that questions our relationship with sacred artifacts and their evolving contexts.
Wu Chi-Tsung’s solo exhibition “Fading Origin” is on view at Sean Kelly, Los Angeles. The exhibition reflects the artist’s profound contemplation of humanity’s transition from the analog to the digital world, exploring how this shift has fundamentally transformed human civilization and our way of life. In light of the current circumstances, the opening reception is postponed.
The exhibition features an experimental new series, Wrinkled Texture Fading Origin, which investigates the loss of information through the process of reproduction. In this new series, the diptych and quadriptych works begin with a single, full sheet of exposed cyanotype paper, which then becomes the basis for recursive cyanotypes within the same work, with each image serving as the negative for the adjacent sheet. The result is a mesmerizing shift between blue and white tones, where the original image gradually dissipates into a field of color. This process captures the ephemeral and transient qualities of the natural world while emphasizing the slight, irreproducible differences unique to analog processes. Through double-exposure techniques and exploration of faded origins, the series reflects Chi-Tsung’s commitment to advancing the medium while preserving the poetic, tactile qualities of analog photography.
The artist explores the inherent properties of cyanotype photography—the technical foundation of his signature works Cyano-Collage and Wrinkled Texture Series. While cyanotype was once widely used for industrial blueprint reproduction, each successive reproduction gradually loses detail, resembling fading memories, or as the artist describes, “aerial perspective drawn on a timeline.” This imperfect nature of analog reproduction stands in stark contrast to the possibility of perfect replication in the digital world. This exploration broadens the expression of uncontrollability inherited from the spirit of Chinese landscape painting in his cyanotype works, further questioning the profound differences in life experiences and thought patterns between analog and digital generations.
The exhibition also introduces a new site-specific interactive installation, Calligraphy Study, where viewers can write with water-dipped brushes on specially prepared canvases. As the water evaporates, the writing disappears. The work presents the artist’s reflection on “writing in an ephemeral era,” transforming calligraphy into an artistic experience that combines visual and physical sensations. This piece evolved from the artist’s earlier Calligraphy Study series, which debuted at the Hengshan Calligraphy Biennial. Under the biennial’s theme “Era of Principle and No Principle Interwoven,” Wu attempted to transcribe Wang Xizhi’s “Letter of Loss and Confusion” on a modified treadmill. The motion of the treadmill symbolizes the rapid changes in contemporary society, rendering traditional calligraphic practice nearly impossible and highlighting the challenge of meaningful dialogue between brush and paper in our accelerated era.
Wrinkled Texture Fading Origin 009, 皴法習作：消逝的原件 228 x 111.1 cm x 2 pcs, 2024
Wu Chi-Tsung: Trail to the Moon Opening reception: 19 December, 7:30 pm Dates: Dec 19, 2024 – Mar 29, 2025 Venue:Galerie du Monde, 390 Ruiguang Road, Neihu, Taipei We are delighted to announce “Wu Chi-Tsung: Trail to the Moon,” the inaugural exhibition at gdm’s (Galerie du Monde’s) new Taipei space. This marks Wu’s fourth solo presentation with the gallery and features the site-specific installation Lying Moon, new Cyano-Collages, and his latest experimental series “Wrinkled Texture – Fading Origin.”
Centerpiece of this inaugural exhibition, Wu Chi-Tsung’s Lying Moon (2024) unfolds as a monumental 6-meter immersive photographic installation, conceived specifically for this inaugural exhibition. The work’s title operates on multiple semantic registers: in its most immediate sense, it depicts a moon prostrating across the ground, inviting viewers to physically recline upon its surface. Yet “lying” here also gestures toward the work’s conceptual artifice—this is a moon that deceives, a constructed celestial body assembled from the collective imaginary. The lunar topography, traditionally read as familiar craters and seas, is here meticulously crafted from sand, photographed, manipulated, and collaged into a new cosmological fiction. This dual reading of “lying”—as both physical positioning and poetic deception—transforms into a metaphor for how perception unfolds along lines of becoming: emergent, indeterminate, contingent, historical, and deeply narrative in its unfolding. The Lying Moon reveals both technical and spiritual continuity with Wu’s signature works also presented in this exhibition, the Cyano-Collage Series and Wrinkled Texture Series, collectively demonstrating his two-decade exploration of how images fundamentally alter our modes of seeing, imagining, and experiencing the world.
Cyano-Collage 235, 236, 237 氰山集之二百三十五，二百三十六，二百三十七 300 x 300 cm x 3 panels, 2024
In the summer of 2012, lyricist Yung-Feng Chung visited Dun Ren Psychiatric Hospital in Yuanlin and was surprised to find no iron bars, unpleasant odors, or unsettling noises. The patients lived leisurely lives and were treated with respect. During the COVID-19 pandemic in 2020, he and composer Shiuan Chang revisited the hospital to learn how Dun Ren Hospital centers around patients, refining an internal support system through daily morning reflections and reviews. Inspired by this, Shiuan Chang composed a series of music, including folk songs and children’s songs, designed to connect with the patients’ memories, provide them comfort, and also document the composer’s ongoing internal dialogue and psychophysical reconstruction. The album’s name “Earthing” is derived from Dunren Hospital’s principle of “settling the earth and being humane”, and was released recently. The album is released on its official website, and steaming services such as Spotify and Apple Music
Invited by Shiuan Chang, Wu Chi-Tsung took on the role of art director for the album. He was captivated by the myriad perspectives unfolding at every turn, as well as by the depiction of contemporary ethos and the psychological landscape of modern life woven into the music. Through the familiar acts of “tearing” and “kneading” in his artistic process, Chi-Tsung embodies the narrative perspective of “Earthing.” He metaphorically navigates life’s twists and turns and confronts its myriad challenges within the folded pages, utilizing a “visualized” textual arrangement to delve into life’s mysteries.
Simultaneously with Taipei Dangdai, two Cyano-Collage works will debut to western audiences at Sean Kelly’s booth at the prestigious TEFAF fair in New York. Cultivated in the art traditions of both the East and the West since his childhood, Wu Chi-Tsung has always aspired to combine Western contemporary media with the spirit of Eastern aesthetics to reach a broader audience and inspire diverse interpretations of his work.
“Through my work, xuan paper is able to be noticed by more people. For example, when I was exhibiting in Europe when the audience learned about the production process of the “Cyano-Collage Series”, they were all amazed by the outstanding resilience of the xuan paper after being crumpled, flattened, soaked, and dried. If in this way, more artists from other countries will also start to become interested in this material and begin to use it in their creations, can this traditional eastern media breathe a new life in the contemporary art world? “, Chi-Tsung shared during an interview with Vogue Taiwan.
Established in 1988, The European Fine Art Foundation (TEFAF) is widely regarded as the world’s preeminent organization for fine art, antiques, and design. TEFAF organizes two international fairs—TEFAF Maastricht, which presents over 7,000 years of art history, and TEFAF New York, focused on modern and contemporary art and design.
展會現場 Installation view Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York/Los Angeles
This week, new works of the Cyano-Collage Series will be showcased at the Taipei Dangdai Art Fair, represented by gdm (Galerie du Monde). Recalling the traditional cyanotype photographic technique, the artist treats xuan paper with a photosensitive coating, then crumples the sheets by hand, creating wrinkles and folds before exposing them to sunlight. From the resulting dozens of textured papers with varied tonalities, he assembles and layers the fragments to construct landscapes that resemble rocky terrains with peaks shrouded in mist, snow, and rushing water, evoking the aesthetic of Eastern ink paintings . For the artist, it’s all about experimentation.
“Most artists have a strong ego. We try to control our work. But the more you try to control it, the more likely you are to lose the possibility. Sometimes, we should just let it go. Let the work grow in the way it should,” Chi-Tsung has said.
Formosa News recently featured a special report on Wu Chi-tsung and his artworks, focusing particularly on the creative process of his cyanotype photography. Reporter Stephany Yang visited the artist’s studio and had an in-depth discussion with Wu Chi-tsung about his unique techniques involving Xuan paper and the natural interplay of sunlight and shadows. Viewers had the opportunity to see how Wu ingeniously blazes new trails by utilizing natural environmental elements for contemporary creations that convey the essence of ink painting. The program also delved into Wu Chi-tsung’s artistic evolution and his modern interpretation of traditional Chinese ink painting. The following report extract is reposted from FTV News.
Today we take you to meet Taiwanese award-winning multidisciplinary artist Wu Chi-tsung. Wu is famous for creating beautiful landscape artworks by wrinkling Xuan paper and putting it under sunlight. FTV reporter Stephany Yang takes us to see the artistic process.
Stephany Yang: Beautiful landscape artworks are hung on the wall. At first glance, it might look like a regular painting, but it’s actually a cyanotype work created by Wu. He first applies a photosensitive coating to Xuan paper, which is also called rice paper. He then wrinkles the paper, and puts it under the sunlight at the top of his studio’s rooftop.
Wu Chi-tsung: For about half an hour, I will keep changing the shape and read the beautiful and random texture of light and shadow. Then, gradually develop the shape of the work. All the work, I did usually under the sunlight. Sunlight could change any time. Wind will move the paper. The most important thing. You cannot control how you crumble the paper and what form you would get. I love all the randomness in the work so I can always find new things and learn from it.
Stephany Yang: Afterward, he washes the paper. Mountains, oceans, glaciers, and other landscapes slowly emerge.
Wu Chi-tsung: After exposure under the sunlight, I need to wash the paper for half to one hour to remove the extra chemical because cyanotype chemical contains some acid. If it remains in the paper, it will make the paper become yellow and fragile. It is kind of interesting because I was working under the direct sunlight so I could see stronger contrast like this part. You could see a very strong color tone and contrast inside. For me, I almost could see each paper and feel the weather of the day when I was doing the exposure. I think every day is different.
Stephany Yang: For some of the works, he uses aluminum mounts to create a gray texture. Wu says the process of creating an art piece requires a great deal of patience. The color, detail, and texture of the work greatly depend on the type of Xuan paper and weather conditions.
Wu Chi-tsung: You can see on top is no acrylic color, anything. Just simply a reflection of the aluminum panel with the texture. When you walk around the work and see the work from different directions, the reflection will change. Also, the light of the environment changes through the daytime. The papers I used on this work was created on a cloudy day but with stronger UV light because you can see the strong intensity of blue tones, but at the same time have a very smooth shadow tones. Also, this paper was machine-made paper, not handmade paper. It shows a very strong blue.
Stephany Yang: Wu was trained from an early age in Chinese calligraphy, watercolor, Chinese ink painting, and drawing. He received his Bachelor of Fine Arts from the Taipei National University of the Arts. He began experimenting with cyanotype art in 2012. He hopes to reinvent ink painting.
Wu Chi-tsung : My cyanotype work combines two things together. One is to have a dialogue with ink painting, Shan shui, this tradition that I started to do since I was a kid. I really love the kind of aesthetic behind it. But nowadays, we don’t use brushes anymore. We barely use pen for handwriting. It might be difficult for the audience to relate to this art tradition. So, I got the idea to replace the ink and brush part with experimental photography. That is why I came up with the idea to try the cyanotype. It is very simple and very direct. The most beautiful thing is that it works under the sunlight. It is not in a dark room. It is the environment engaging with nature which I like a lot.
Stephany Yang: Wu says he wants to continue to create bigger works and pay tribute to nature.
In the upcoming exhibition Into View: New Voices, New Stories at Asian Art Museum in San Francisco, U.S.A., Cyano-Collage 024 will be presented. The exhibition features recently acquired paintings, sculptures, ceramics, prints, and mixed-media work by local and international contemporary artists who challenge and subvert convention by transforming familiar stories, stereotypes, and techniques. Other participating artists includes Artists: Koon Wai Bong, Theresa Hak Kyung Cha, Michael Jang & Barry McGee, Cathy Lu, Jiha Moon, Younhee Paik, Nicole Pun, Stephanie Syjuco, TT Takemoto, Wesley Tongson, Rupy C. Tut, and Jenifer K Wofford.
Cyano-Collage 024 was the featured artwork in Wu Chi-Tsung’s solo exhibition presented by Galerie du Monde at Art Basel Hong Kong 2018, where it made its debut. In 2019, it was selected for exhibition when Wu Chi-Tsung was awarded the winner of the inaugural Liu Kuo-Sung Ink Art Award.
In 2021, upon acquiring the work, the Asian Art Museum organized an online event that allowed art lovers to learn more about the production process of the work and the artist behind it.
Wu Chi-Tsung will ring in the new year with his participation in the group exhibition Living Paper, presented by Galerie du Monde and explores the diversity and versatility of paper as a medium, as well as its limitless potential for creating a visual dialogue.
Established in 1974, Galerie du Monde is hosting this exhibition as part of its 50th-anniversary celebration series. The exhibition is curated by Olivia Wang who is an art consultant, curator and writer, with a focus in contemporary Asian ink art, and features recent works from Wu Chi-Tsung’s Wrinkled Texture Series and Cyano-Collage Series, along with works from nine other Asian artists including Chiang Yomei, Fu Xiaotong, Hung Fai, Young-sé Lee, Ling Pui Sze, Ma Hui, Wai Pong-yu, Kelly Wang and Zheng Chongbin. The curator shares that “while the material enables artists to engage with their artistic traditions, the multivalence of the material itself lends itself to endless possibilities of exploration and creation. In the hands of this group of artists, paper becomes alive and comes into its own being.”
Believing that interacting with materials and technology is a crucial part of art creation, Wu Chi-Tsung’s daily working routine revolves around paper: treating, crumbling, exposing, “washing,” reassembling, and, most importantly, experimenting. To the artist, xuan paper possesses the most complicated and sensitive qualities among all papers. With different manufacturing methods, it is capable of producing a wide range of delicate ink colors. “Through my work, I hope to bring more attention to xuan paper and contribute to the industry, allowing traditional Eastern media to breathe new life into the contemporary art world.”
The Katonah Museum of Art (KMA) presents Wu Chi-Tsung: Synchronicity, which marks Chi-Tsung’s first solo museum exhibition. The exhibition will focus on the artist’s most recent body of work, his Cyano-Collage Series, that seamlessly incorporates Eastern aesthetics with collage and photographic processes to create sublime reinterpretations of traditional Chinese Shan Shui (mountain-water) landscape paintings. A meditative video installation in the main galleries and an immersive installation in the project gallery will provide further examples of Wu’s diverse and innovative practice. On July 9, Wu Chi-Tsung will join KMA Executive Director Michelle Yin Mapplethorpe for an in-depth discussion on his dynamic and interdisciplinary practice.
The Katonah Museum of Art is a non-collecting institution geared towards visual arts, located in Katonah, New York. From its inception, the KMA was committed to presenting exceptional art from all cultures and time periods. The founders’ decision to be a non-collecting institution resulted in a dynamic and flexible exhibition program, which remains one of the most distinctive features of the Museum.
In November, after the successful closing of his first institutional solo show in the US at the Katonah Museum of Art, Wu Chi-Tsung has donated his Cyano-Collage 179 to the Katonah museum for its annual live benefit auction that supports for the Museum’s acclaimed exhibitions, educational programs, and forward-thinking initiatives.
This week, video installation Dust 002 alongside with new works from the Cyano-Collage Series will be presented at Sean Kelly Gallery’s booth at Art Basel Unlimited, Art Basel’s pioneering exhibition platform for projects that transcend the classical art fair stand, including large-scale sculptures and paintings, video projections, installations, and live performances.
The Dust was initially created and debuted during Wu Chi-Tsung’s residency at in 2006, which marked his first solo exhibition in an art institution in the United Kindoms. Since then, the work has been exhibited in Germany, Luxembourg and the U.S.. It features a real-time streaming of the reflection of the circulation of dust particles moving in the room. As viewers progress through the space, disrupting the flow of air, the images of flickering dust change constantly and instantaneously creating a captivating relationship between artist and viewer, technology, and chance. Dust not only reorients us to the small beauties of the world but demonstrates our fundamental inability to perceive these phenomena without, in turn, affecting them.
This week, new works of Wu Chi-Tsung’s will be showcased in Taipei Dangdai Art Fair represented by Galerie du Monde. A fan-shaped Cyano-Collage Serieson aluminium board will be presented together witha newDrawing Studies – MAO Bodhissatva Guanyincreated in Turin, Italythat is commissioned and collected by Museo d’Arte Orientale di Torino.
On May 6th, the second half of Buddha 10 was unveiled at the MAO – Museo d’Arte Orientale di Torino, where the visual evolution of Buddhist art throughout history shall be explored with renewed vigor. The exhibition is a tapestry of collections from various regions, woven together across time in the museum’s collection. The highlight of the exhibition will be Buddhist sculptures from the Chinese collection, which will offer different perspectives and reflections on the museum and its proud collection of Asian Art. Curated by Davide Quadrio who is renowned for working closely in the East Asian art scene over decades, the exhibition will also feature contemporary art practices, among which Wu Chi-Tsung’s Drawing Studies – MAO Bodhissatva Guanyin is commissioned and collected by the museum. The video installation captures the Buddha statue from the museum’s permanent collection and will debut at the museum’s Japanese garden, creating a timeless symphony of art.
Calligraphy Study 003 is a vertical, interactive mechanical installation around 2.5 meters in height. Viewers are invited to dip a calligraphy brush in water and write on a special water-writing cloth, where the brushstrokes initially appear as dark traces resembling ink but gradually fade as the water evaporates. The cloth is suspended like an unfurled scroll, held taut by mechanical structures at both ends, merging the traditional form of calligraphy with modern mechanical design. While the surface of the cloth moves slowly, viewers can accelerate its motion by stepping on a control device. This interruption makes sustained writing nearly impossible, as the body is pulled along by the hastened speed, generating a sense of pressure and loss of control. Through this experience, the work confronts viewers with the irreversibility of time and the transience of culture in constant flux.
The piece extends from Wu Chi-Tsung’s earlier Calligraphy Study 001 series, first presented at the Hengshan Calligraphy Biennial. In that work, the artist used a modified treadmill as the writing surface, attempting to copy Wang Xizhi’s Letter of Loss and Confusion. The treadmill’s constant motion turned writing into an impossible act, symbolizing the rapid pace of contemporary life and the difficulty of maintaining concentration and continuity in calligraphy. It also pointed to the gradual decline of traditional culture and ways of living amid modernization. Continuing this central inquiry, Calligraphy Study 003 binds the viewer’s writing to time itself, as the fading and lingering water marks become an inseparable part of the work. These vanishing marks never truly disappear; instead, they seep into time in another form, carrying with them an indelible memory.
Calligraphy Study 002 書法習作 002 Single-channel video, 2023
Calligraphy Study 001 書法習作 001 Single-channel video, 2min, 2022
Wu Chi-Tsung debuted his new work series, the Calligraphy Series, at 2023 Hengshan Calligraphy Biennial. Co-organized by Taoyuan Museum of Fine Arts and Hengshan Calligraphy Art Center and co-curated by Wu Chao Jen Philip and Chen I Tso, the inaugural biennial, titled “Era of Principle and No Principle Interwoven”, is centered on the development and future prospect of Chinese Calligraphy in the context of contemporary art.
‘In this video, a length of a paper is attached to a modified treadmill. After turning the treadmill on, Wu uses a brush to write on the moving paper. As he attempts to transcribe the famous ” The Letter of Loss and Confusion” ( Sangluan Tie) by Wang Xizhi, the speed of the paper’s motion makes writing futile as all characters turn out to be entirely illegible. The speed of the treadmill represents the rapid changes in the spatiotemporal setting. Not only is the brush unable to cope with the circumstances, but it is also incapable to engage in a meaningful conversation with the paper. ‘ （Quoted from curatorial statement by Hengshan Calligraphy Art Center）
Calligraphy Study 001 書法習作 001 Single-channel video, 2min, 2022
Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場
Wu Chi-Tsung’s Cyano-Collage Series was featured in Shangxia’s FW23 courture collection which debuted at Paris Fashion Week recently. Shang Xia is a Chinese luxury fashion brand backed by Hermès offering high-quality products with a contemporary twist on traditional Chinese aesthetics and crafts. In its FW 23 collection, it reinforces the brand’s exploration of ‘duality’ and how symmetry and asymmetry coexist.
Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場Shang Xia FW fashion show at Paris Fashion Week Shang Xia 上下巴黎時裝周走秀現場
Galerie du Monde｜Booth 3D17 VIP Preview Mar 21-22, 2023 Public Days Mar 23-25, 2023 Venue Convention & Exhibition Centre, Hong Kong
Next week, a new Cyano-Collage will be presented at Galerie du Monde’s booth at Art Basel Hong Kong. This piece will be showcased alongside the works of 14 other prominent artists, all of whose creations exudes an ambiguity and with that comes thought provocation, inspiring viewers to question the sense of self.
Summoning Memories: Art Beyond Chinese Traditions Exhibition Period February 10, 2023 – July 2, 2023 Venue 1370 Southmore Blvd. Houston, TX
Wrinkled Texture 113 is featured in Asia Society Huston’s recent group exhibition “Summoning Memories: Art Beyond Chinese Traditions”. Curated by guest curator Dr. Susan L. Beningson, the exhibition highlights works by over 30 contemporary artists of Chinese descent who reinterpret traditions in dynamic and innovative ways. Across painting, sculpture, and photography, these works were created by both established and emerging artists of different generations who use experimentation to draw on both Eastern and Western art-making practices and materials.The Asia Society’s is a global non-profit organization whose purpose is to navigate shared futures for Asia and the world across policy, arts and culture, education, sustainability, business, and technology.
Curator Susan L. Beningson stated, In his Cyano-Collage series, Wu Chi-Tsung explores the essence of Chinese ink landscape painting, moving beyond the brush to utilize innovative new materials and techniques. To create these evocative landscapes, Wu prepares layers of cyanotype photographic papers, a method used since the mid-1800s. He treats the xuan paper, the material used in traditional Chinese ink landscapes, with a photosensitive coating. The multiple pieces of paper are crumpled, exposed to sunlight, and then mounted into collaged images that resemble the craggy mountain peaks of traditional Chinese ink shan shui (mountain and water) landscape painting – thus creating ink landscapes without the ink. Wu replaces the traditional materials of ink and brush with experimental photography in order to reinvent the process. Wu has said that his landscapes resist any fixed reading: “They could be anything, because they are not representing any real landscape. This is the spirit of a Chinese landscape.. The best works always come from some kind of coincidence… Most artists have a strong ego. We try to control our work. But the more you try to control it, the more likely you lose the possibility. Let the work grow in the way it should.”
《皴法習作113》正於亞洲協會休士頓分會最近的群展《召喚記憶：超越中國傳統的藝術》中展出。本展由客座策展人Susan L. Beningson博士策劃，集中呈現了三十餘位華裔藝術家的當代藝術作品。作品涵蓋繪畫、雕塑、攝影等類別，均實驗著結合東方與西方的藝術傳統與材料，以創新的方式重新詮釋著傳統。亞洲協會總部位於紐約，是美國一個非牟利組織，創辦宗旨是向世界傳播亞洲文化。
策展人Susan L. Beningson介紹道，「在《氰山集》系列中，吳季璁探索了中國水墨山水畫的本質，運用創新的材料和技術超越了傳統筆觸。為了創造這些意境深遠的山水畫，他使用光敏劑處理宣紙，這是傳統中國水墨山水畫所使用的材料。這些宣紙被揉皺，曝露在陽光下，然後拼貼成山峰嶙峋的山水圖像，與傳統中國水墨山水畫頗為神似。吳季璁用實驗攝影取代了傳統的墨水和筆觸，他不用墨水便創造出了水墨山水對傳統書畫進行了當代的重新詮釋。藝術家表示，他的山水畫抵抗任何固定的解讀『它們可以是任何東西，因為它們不代表任何真實的風景。這就是中國山水畫的精神。最好的作品總是來自某種隨機性…大多數藝術家都有很強的自我。我們試圖控制自己的作品。但是你越想控制它，你就越有可能失去可能性。讓作品按照它應有的方式成長』。」
