My works deal with time and space in the twenty-first-century scenario, while mirroring the concerns of twentieth-century artists (Rauschenberg, Malevich, Chagall, and Mondrian)—their curiosity and their studies of the universe, music, and religion before the technology explosion (or so-called Third Technological Revolution). Given the greatly increased freedom of access to knowledge, merchandise, and technology, I more fear than celebrate them. My expectation of paintings or making paintings can no longer be satisfied by symbolic definitions, coordinate systems, or deconstruction toward a universal truth. I prefer to see the truth’s reflections on human individuals. I am always interested in making paintings that are subject to the current social order while leaking evidence of human existence, rawness, or in other words, the human “imperfections” defined by the criteria of this Third Technological Revolution. In the meantime, I enjoy the imperfections’ byproducts, such as double takes, absurdity, or humor—truly powerful qualities in any type of conversation.