I never sought formal art education or training and only began painting in my fifties, so I have only three years of experience. I didn’t want to copy others or be an apprentice, and going the easy way was never appealing to me. I lack a desire to follow the mainstream or paint for the pleasure of other people.

I am fond of art and very attracted by light and colour. I admire the great works of masters across different disciplines and am content to explore my own artistic preoccupations without concern for the expectations of the fast-paced art world. I am not sure where my art will lead me, but I don’t think it’s important.

I am also compelled to create by emotion, an indistinct force that must be released one way or another. It is entirely possible that a work will never be finished, but once you have expressed the feelings which moved you to paint, your efforts are no longer futile. This holds true whether I am painting figures, scenery or abstract forms. It is not easy to understand this drive, which seems to have no purpose.

The medium one chooses is not the most important aspect of art, though it matters. I have selected oil painting as my starting point because I love the richness of colour, the variety of texture and the bold realism unique to this style.

I am interested in capturing the essence of a subject, as well as the mood or sense of a place, while emphasising elements that excite the viewer. This requires balance, simplification, exaggeration, careful observation and precise replication. I believe every painting should offer something emotive and unique and I aim for these qualities even when depicting my most quiet, subtle subjects.

I don’t discriminate when it comes to subjects and paint both clothed and nude human forms within different spaces and landscapes, as well as the countryside, forests and the sea, still lifes and sculptures. These subjects are all approached in the same way, with the same interest in particulars and the same refusal to idealise. I am determined to remain patient and alert when regarding my subjects, seeing each one as an individual while avoiding stereotypes. An artist must regard her subject candidly, focusing on humble observation and precise presentation. The handling of paint is also important through both moments of bravura and those of awkward urgency, whether it is during the creation of a life portrait or a plein air session. I also refuse to romanticise my subjects; doing so leads to tacky works admired by the average eye, but I refrain from this form of compromise.

 

有一種畫家，從未讀過藝術理論，也沒有受過正統的訓練。

近五十歲才開始畫。而且只畫了三年左右。

不太願意模仿老師的畫風。又不願意做大師的門徒。

不肯走捷徑。堅持迎難而上。

不甘為搏取讚譽，而隨波逐流。

縱然我就是以上所說的那種人，藝術之路荊棘滿途；但是我真的酷愛藝術。常為光影以及色彩而著迷。對古今中外的大師充滿敬慕。我樂意加倍努力去創造自己的藝術語言，就算和流行的藝術趨勢相迴異，不能獲得賞識，我也是甘之如飴。

我畫畫只有一個原因，就是回應內心的需求。那種強烈的呼喚，不知由那裡而生，又往那裡迭走。有時候一幅作品充分體現了某種情緒，就算是只畫了局部，或許有明顯的技術缺點，但對畫家而言，作品的使命已經完成。我所指的這種創作的原動力，泛指我的素描、人像、風景或抽象作品。一般人並不容易理解藝術創作這種虛無的動機。說實在，我也無法言喻。

至於媒介，我認為畫理比媒介重要，但用什麼作畫，也始終是有分別的。我選擇素描作基礎訓練，選擇油畫開始色彩創作。我喜歡油畫色彩沉穩有力的表現能力，油畫筆觸有輕重、厚薄，可以呈現出不同的節奏。

我的作品在畫面刻劃方面，主要是捕捉對象的內在特徵；或是一個地方的情調氣氛。我會刻意強調一個重點。這牽涉到藝術家的選擇、細心觀察、準確描繪、平衡、誇張、概括等等。我還要求我的畫充滿獨一無二的專屬我的感情。就算一幅最普通的靜物寫生，描述一個蘋果，我都要求透露出完美的寧靜無為的境界。

我畫畫三年多，無分輕重地畫人物：人像、裸體；畫風景：市區、郊外、樹林、海邊；又愛靜物、石膏像。什麼都愛畫，欣賞無處不在的美感。用的手法如出一轍，都是很喜歡留意細節，討厭千篇一律將對象優化成一種固有的定型。要做到這點，必須很用心也要很敏銳逐觀察每個對象，並懐著一份最謙虛最真誠的心，才能幸免於俗套。「俗」可以甜、膩、媚、艷，也必然受大多數人欣賞。但我寧願不畫，也不要庸俗。