60x80cm. Oil on canvas. November 29, 2016

2016 was a busy year. I brought abd decorated a new studio for preparing my serious painting career. I went to yunnan and guangxi and Russia to paint. I went to Taipei for 22 times to practise drawing. I was invited to my first exhibition where I was gradually known by local art scene as the new aspiring oil painter in Hong Kong. I published my first painting album. I was interviewed by a dozen of media including the most popular TV station to explain my painting. It had been a wonderful journey for me.

Therefore in 2016, I had only done a lot of plein air painting and had only completed one creative painting. It was called “Predestination”, it was my first classic realistic painting, done in 2 weeks. And it was the one painting I am proud of myself. 

The painting is about how helpless human beings is when faving adversity in life. I loved to go to primitive region to trek, enjoyed to see those unexploited natural scenery and to meet simple village people. 

Those were races who faced poverty generation after generation, yet they were borne naturally to love what they had, be honest, be happy, be genuine.  I love to build my painting concept on these people.

This painting is about a mid age woman of a face of wrinkles and anxiety, telling us what she went through and what her sorrow was. She had been exploring user the strong sunlight for decades so she looked older than she was.

I painted with a lot of dedication and use a very realistic style because I wished to fully tell people who she was. I was thinking why we always face a cruel reality and why mankind can never determine our fate. These Nepalese had done nothing wrong their entire life. But generation after generation they were facing poverty, natural disasters, starvation and death. So if there is god, any god, is this a dirty trick he play with us.

The background I used a strong and bold yelliwish warm colour to signify the strong sun in the highland. I abandoned the realistic style and adopted the surreal state of mind of the woman. In her mind there were only dying trees and dessert.  Artistically I used Chinese line drawing to paint the background. And I deliberately left some marks during the creation process, making an emmense contrast between the fine portrait and its rough background.

At the right hand side top I painted a Condor to make the painting looked more sad. 

This painting was shown publicly in my first exhibition at sun museum.

2016年我只有這張創作畫， 名稱＂天問＂，60x80cm，畫了半個月。

描繪人類面對人生困境的一份無力感。我常常喜歡去貧窮偏僻的山區旅遊遠足。途經未開發風景壯麗，民風淳樸的地方。那些地方人民生而困苦，但卻真誠知足快樂，有最真實的面容。我創作畫中常常以山區所見所聞入畫。
天問畫的是一個尼泊爾遇到的一位中年婦女。我很著意去寫婦人面上的皺紋和一張愁苦的容貌。反映了她的蒼滄和閱歴。從小暴露在陽光下令她面容衰老。我不由自己地把她畫得很真實。很細緻，用了我從未用過的寫寶手法，我是誠惶誠恐生怕刻劃不出她的內心世界。我一直畫一直在想，為什麼現實世界總是這樣殘酷，為什麼我們由出生開始，命運就已經註定，窮一生也無從逆轉。好像這些善良真摯的尼泊爾人，終生、代代相傳，面對天災、窮困、飢餓和死亡，如果有神，究竟是否在戲弄他們。

背景我用了暖黃。隱喻了瘋狂的烈日。背景的處理若用寫實風格，顯得有點納悶和老套。我改用了婦人的意識流，即是她思想裡的虛擬境像。她腦海裡大地只剩荒草䕕生，一片荒蕪，四週只留下枯枝朽樹。

背景在藝術手法上我用了國畫的缐描，令畫味增強。又刻意留下創作時的一些痕跡，成為畫面的瘕疵。婦人的精緻和背景的缺陷在畫面上形成的強烈的衝突，令主題更為突出。

畫面右上方我加了一隻超寫實的禿鷹。令畫面更見哀傷。禿鷹，如文學作品裡的賦比興，隱喻了現實生活之殘酷，和畫家對天地不仁的控訴。

這張畫首次展出是在一新博物覧。我獲邀參加香港新晉油畫家“不凡時代＂展覽。是我首次公開自己的作品。

A big opening of my first exhibition in the nicely decorated Sun MuseumSharing of my painting during a seminar.coverage by Sing Tao Daily December 8, 2016.covered by Ta Kung Pao December 3, 2016.

kick off event has attracted many influential people in our art scene, and officiating guests are govt officials and Legco members.