Painting, 140*150cm



Painting, 70*120cm


Painting, 70*120cm

Since I came to UK, I have been accompanied by frequent bouts of insomnia. Ialways felt confused about my lifestyle. It seems to be healthy and almost completely integrated into this place, but I still hardly get a good sleep.

Anxieties are always easy to be magnified at night. To me, going to bed is more of a ceremony of suffering than a rest.

I believed the sleeping quality essentially accounts for the  relationship between a person and the place he or she lives. To me, a bed is no longer a carrier of my body but a carrier of thoughts.

I used this group of paintings to decontextualise the meaning of bed and describes my abstract state of my insomnia.



In times of unwelcoming wakefulness, my mind wanders into unexplored territories. Because of the lack of realistic limitations, my thinking has become more active during the state of insomnia and light sleep. The idea of subconscious mind has played a greater role at those moments than my everyday life. 

This means that in a conscious yet sleep-deprived state, I am able to think creatively, and “outside of the box.” So I started to draw my inordinate thoughts freely during insomnia.

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Louise Bourgeois made her “Insomnia Drawing” series during a particularly bad bout of anxiety.


Since the last work "Thought", I have paid more attention on abstract painting and hard-edged painting. I felt great to make work with wood.


At the beginning, my project was more representational. I did not change until I came cross suprematism and saw more works of Kazimir Malevich.


His work gave me a strong connection to the feeling of "broken", "destroy" and "dissociate", which also similar to pieces of bed's components.


I wondered what would Malevich's paintings look if the colour lump came out of paintings? Then I started to compose my sketches, abstract paintings and wooden panels.


Charles Hinman's three-dimensional shaped canvas(hard-edged) painting. 



The working process was very interesting. I deeply feel that the "simpler" the painting looks, the harder it is to organize. Wood should also be tried multiple times to reach a "balanced" state. 

In this work, I found the joy of transfering painting between 2D and 3D. This has given me a new direction in my future works.