Over thirty years have gone by since my first portrait work. Portraiture has had an undeniable significance in my artistic practice, and in a sense, I have dedicated myself to portraiture because it shapes my values into a message – this very message connects me with the world outside, the audience.

Every portrait I made is a new experience. Nervousness stirs up. My inner emotions fluctuate. These are part of the creative process. Communication and interaction with the subjects are complicated and influence the outcome; the complications are brought about by feelings that can hardly be put into words.

Actually, what I try to achieve is a new definition of the subject. I always put aside the established image and portray the person from my own perspective. Consequently, they do not always prefer the outcome. Still, I insist, due to the significance of my practice: what I am doing is not merely a service, but a delivery of a message through the subjects, or through the process.

Sometimes I see myself when I am making portraits: I discover that the subjects and I share some common characters, and I see my own shadow in them as if part of me exists within them. At other times, I intentionally portray my own self in the subject, and people who know me well sometimes read me in the images. This seemingly bizarre experience makes my portraits interesting and exemplifies the style of my portraiture.

I was once asked for an explanation on the somewhat stern faces in the portraits and the seeming lack of emotion. I see the non-smiling state as a relatively true self. The smile is not an expression that lasts for long, while a countenance that shows no expression can render a sense of eternity, of timelessness. This sense directs my creativity.




曾經有記者問為什麼你拍攝的人物的表情大都很嚴肅,或沒什麼表情的?因為我認為這個狀態下的「我」是相對真實的。人不可能每一刻都在笑,不笑或沒什麼表情的狀態下我感覺是較為永恆及 timeless 的。這亦是我創作作品時的取向。