INTERVIEW QUESTIONS Ｑ：Please clarify – is this the proper way to spell/punctuate your name: Lo Chan-Peng (with the dash between Chan-Peng)? I want to make sure that we publish it correctly.😊

 Ａ：I’m from Taiwan, where the Pinyin system is used. “Lo” is my family name and “Chan Peng” my first name. Many Taiwanese get themselves English names like Peter, Vanessa and so on. Yet, I aspire to be a pure artist, one that immerses himself fully in the world, and that is why I use the name I was born with. I fully understand, though, that it takes a little time for the western world to get Chinese names. Ｑ：You’ve said that art has summoned you, which suggests that you regard the act of creating as a religious experience. What specific aspect of creating feels particularly sacred or holy to you (and why)? Ａ：This is a question that rather falls in the grey area. I believe, what renders the creative process intriguing and appealing is the fact that you could never be certain whether it originates from the beyond (heaven?), from coincidence or from one’s own fantasy. Ruminating in chaotic and hazy experiences, making sense of one’s own experiences, such I believe to be the charisma of art. As for my own particular experience, that might be too long a story…. 
 Ｑ：Have you always felt that creating is your sacred mission in life, or is that an adult revelation that is reinforced by your Christian faith? Ａ：You may say that religion reinforces certain things; however, I’m convinced that it is fate, chance, and coincidence that plays a part with my “understanding and choice.” Some ideas come from thought, and chances are that the mere temporal difference of a second before and after the occurrence of a single event might lead to diverse ideas altogether. In short, I am not capable of arriving at a specific judgement in regard to your question. For me, judgement is like particles in the air, drifting constantly, which is why I always reiterate, creation is a kind of quest, and I am a traveler searching for something in the wilderness. 
 Ｑ：Was there ever a point in your personal history when you were really close to deviating from your creative path, or do you believe that your artistic career is a preordained part of your fate? 


 Ａ：Yes, I have undergone tremendous setback in life a few years ago, which is a long story. Eventually I returned to the creative path, and I believe in the existence of certain connection between the exquisite process in between and what implicitly lies under fate. I think there is indeed such a thing as “the script of life.” Of course, as I’ve mentioned, there’re times when I feel myself to be the director of my fate while some other times I come to the sudden realization that I am a mere actor. Again, human thoughts are wandering and intangible. That perhaps is the ultimate truth. Ｑ：Which do you believe is part of your artistic fate: being an artist or being a very successful artist? Don’t you believe that you played a large role in your current level of success due to your work ethic and talent?

 Ａ：Being a very successful artist isn’t something I can achieve with expectation. In Chinese, the phrase “Tiānshí dìlì rénhé” refers to the convergence of the right time, the right place, and the right people connection. First I’d like to be an honest artist who loves art, enjoying his work, and leaving the rest to fate. Besides, I do not feel that I’ve attained “success” as many challenges lie ahead of me, and the pursuit of the better remains. Having said that, if I were to become successful, I’d enjoy it and use it to serve others, creating a positive cycle. More often than not, worldly success does not necessarily come from one’s work ethics or the amount of efforts one makes. It might have something to do with talent, but every artist has their own path to follow regardless (,which is what LaoZi refer to as Dao.) Ｑ：You seem to be a naturally philosophical person who cares a great deal about fulfilling - and maybe even surpassing – your potential. Which matters more to you: creating your next masterpiece or the quality of your creative journey? 
Ａ：I’m not fond of making decisions. If possible, I’d like both, which would be a test of my own potential, and to exceed one’s potential is no easy task. I think it’s only when we have grown sufficiently to challenge our previous selves that surpassing is possible. Ｑ：You’ve worked in many diverse mediums, but would you please explain why paint and canvas speaks so strongly to you? 

 Ａ：As far as I’m concerned, in the foreseeable future, the act of painting by hand will become unimaginably precious. The warmth of the human hand transfers subjectivity on to the canvas; it is as if to look at a piece of painting, one looks right at the artist themselves. At the moment when we are heading towards the meta universe where everything is virtual, this skill will definitely take on more appeal and value. Indeed, artificial intelligence can produce oil paintings, but its creative output is by no means affected simply because it experiences sudden exhilaration or despondency waking up in the morning. There is no “butterfly effect”. How this medium reflects the human hand is a fascinating property for me. Ｑ：Do you intend to return to other mediums occasionally, or is oil painting your main calling? 
 Ａ：I’ll simply follow my heart. Strictly speaking, medium does not make much difference to me. It’s a matter of suitability. It’s just at the moment I personally believe in how oil painting exquisitely mirrors the human hand. Ｑ：Is the reason why you share your skills via Hsuan Chuang University and online workshops partially due to artistic summoning? Is igniting creative passion in others equally as essential to your spirit as manifesting your own personal works of art? 

 Ａ：As I’ve said earlier, it is my belief that, once one is capable of more, it becomes equally important to serve others. Honestly speaking, I’m not sure how it is elsewhere, but I see huge problems with art education in Taiwan nowadays, and I’d like to render my service in this particular area. I hope more and more young people will be willing to return to the old system of apprenticeship, absorbing new knowledge and integrating it. Imagine using concepts of classical music to create electronic music. A spirit in Japanese tea ceremony is to continuously formalize one’s tea-making techniques. I understand formalization is rigidity. but some kind of formalizing training allows tea-makers to feel, day in and day out, the different texture of tea powder pulverized at various speed and in various seasons. How will it taste if the tea powder is coarser? What’s it like to make tea on rainy days? What I’m driving at is “the absolute thoroughness.” When concentration reaches a critical point, humans discharge their soul into the work in hand. Masters in all fields have reached such realm. When you gaze at Monet’s water lilies from his later period, it’s as if you can perceive his soul in it. Ｑ：If a non-religious yet open-minded viewer studied your portraiture, do you think they’d be able to detect that it was created by someone who was summoned to bring art into the world?

 Ａ：I have no idea. I believe he or she thinks and feels differently in the morning and in the evening and may well think differently again the next day. One needs to comprehend how everything in this world is invariably flowing and changing. A person can be holy one moment and decadent the next. To speculate other’s psychology is like guessing where a falling leaf might land. 
That said, maybe after someone experience a certain event at a certain moment, he or she might really grasp what you’re saying after seeing my work. I once met a girl from HongKong, who told me she was contemplating jumping off the edge of a tall building one day. In a daze, she was scrolling through Instagram when she saw my paintings. She burst into tears and walked downstairs to go home. When she mentioned this incident to me years after, I struck me how wonderful it is to be an artist, and that in itself is meaningful. Ｑ：Do you paint to offer spiritual enlightenment to others? 


Ａ：Yes, I believe a good artist means to reveal rather than to explain. Still, if an artist fail to aspire to that level, he or she cannot provide revelation, for which I’m still striving. Ｑ：If the beholder notices nothing more than the remarkable aesthetic qualities of your work, do you still feel as though you’ve accomplished something noble? Ａ：I love my audience whichever way they are. 

 Ｑ：Does being engaged in the creative process automatically connect you to a spiritual force, or is that energy an omnipresent part of your life, no matter what you’re doing? 

 Ａ：For me, such spiritual force is tangible only while I’m creating or when I see great pieces of work. Ｑ：You regularly use Jan van Eyck’s semi-transparent layering technique in your own artistic practice. Does that process imbue your art with far more spirituality?
 Ａ：I did learn a lot from classical painting techniques; nevertheless, strictly speaking, those I employ now are not limited to a specific kind; instead, it is a system of my own integration. This has a lot to do with an experience I had. For about four years, I stayed a recluse in the mountains. Painting became my daily life. From morning till night, as time went by, the material I was using became familiar to me. This process continued, until one day, I perceived how oil has become like my blood, pigment my body, and the brushes my fingers. I could feel when the paint starts to dry out at 2 in the afternoon when I lay down the first stroke at 9 in the morning. My perception differed from winter to summer, and from rainy days to clear days, and that’s when my own system came into being. 

As for spirituality, I believe when an artist has done enough to enter a certain zone, his or her work begets spirituality. It is not necessarily a kind of skill. I recall when I visited the gallery that houses the work of Mark Rothko in Tate Modern. The soul-stirring power impregnated in the work is derived not so much from specific techniques as from something much more profound. What I mean is, a good artist invariably creates his or her own system. 
 Ｑ：Are the layers that you apply on canvas a symbolic representation of your presence within the fabric of art history?
 Ａ：I do refer to art history, but the more important is my own journey. Art history is to me a bonfire reduced to ashes that I have passed by in my journey, and I’m aware that some great master once stopped by here. 
 Ｑ：Have you employed Jan van Eyck’s technique since the beginning of your Ａ：I’ve acquired many kinds of techniques besides those of Jan van Eyck. They are all important nutrients to me. 

 Ｑ：Creating nuanced facets of light is a notable aspect of your painterly signature. Is Jan van Eyck’s paint layering technique the only effective way to achieve that? If you contemporized his technique or stopped using it, would your aesthetic be compromised?

 Ａ：As stated above, I’ve incorporated many different techniques. You ‘ll be able to see how my techniques are constantly changing on my website, where my work is arranged chronologically. As regard to your second question, I have in effect contemporized his techniques and am happy with my personal aesthetic improvement. Ｑ：How time-consuming is it to create just one painting using his process? 

Ａ：Once again, I do not think I make exclusive use of his techniques. Ｑ：Art lovers may appreciate the dark beauty emanating from your canvases, but there is a great deal of gorgeous complexity below the surface, too. When approaching each new work of art, do you consciously add aesthetic/cerebral/spiritual components or do they automatically manifest? Ａ：This is rather interesting. I am often uncertain as to how I might change my picture at any given moment. The complexity definitely does not come from the cerebral element but from a part that is far deeper. No one can be clear as to how some random incident in the morning might have an effect on the decision one makes that afternoon. Therefore, besides myself, fate, weather and more conclude the components manifested in my pictures. Ｑ：Which is more important to you – creating a cerebral or an aesthetically pleasing portrait and why? 

 Ａ：Too many things are important, I’m not sure why a choice is needed. As a director, one must be equipped with the ability to fine tune and execute one’s concept. A painter faces his or her canvas in much the same way a director does his or her movies. I think carefully and make judgements in spite of the fact that it is often my body, instead of will power, that takes me through to the final finish. The final completion of a piece of work relies on not just me at that moment but weather, season, locales, past memory, fate and my body collectively. So, how do I make a choice? I’d have to consult other participants. Ｑ：The beholder is offered a passageway to the deeper, raw truth of the human condition through your muses’ wounded eyes and physical imperfections. Why is emotional excavation far more intriguing to you than painting classical notions of beauty? 

Ａ：First of all, the concept of “classical” you mentioned is the aesthetic evaluation present in European history during a specific time period, one that differs from the aesthetic we come into contact with nowadays. It did not come from any aesthetic or philosophical views of my native background, either. I am an artist from Taiwan, which partially inherited the aesthetics and philosophy of China. The fact that it is an island having gone through the rule of multiple nations (Japan, the Netherlands, Spain) influences Taiwan in different ways. Moreover, I travel and read as much as I can, which helps me access the value system, the aesthetics and the philosophy across geographical territories and time periods. In a word, I doubt my creation could be genuinely “classical.” To me, all of the above is like a data base in computer hard drives; I reflect the human world at present through this information. Ｑ：Your muses possess a spectral quality that makes it seem like they exist in an in-between realm. They appear broken in spirit but not quite ready to give up the ghost. How does impermanence and death figure into your artwork? 
Ａ：I especially like the concept of “an in-between zone” you mentioned as I think it accurately pinpoints my idea. Life and death, chaos and order, piety and profanity, liberation and confinement, an incomprehensible gap exists between the here and there, commingling into a single entity. My creation is somewhere in between, a mysterious game before arriving at the other shore. Ｑ：Is the ghostly element in your work equally as emblematic of the way that Taiwanese nationals feel about their cultural identity and beleaguered relationship with Beijing? Ａ：Ha ha, a good question. It is an issue of complication, but part of your understanding isn’t far off. The current political complication of Taiwan imperceptibly shapes the Taiwanese character and has influence on the many choices we make. In the majority of situations, I consider this influence to be negative. It is beyond the power of an individual, and feelings of incompetence and insecurity more or less are fused in my work. What’s amusing is such observation as you’ve made will never have sprung up in Taiwan since they (we) cannot see their (our) own insecurity or confusion just as in Plato’s Cave. 

 Ｑ：Are you free to artistically express pro-Taiwan identity, culture, and political sentiments or does China have the power to impose a penalty upon you (such as being fined or blacklisted)?
 Ａ：I am allowed free artistic expression just as China will go on doing what they do. Nevertheless, I’m not interested in the kind of sentiments in your question. As I’ve said, it will be in vain since this is a depraved world. I understand how some in the west might hope to see artists deliberately endorse ideologies, which is what some artists in China have intentionally done. Yet, the way I see it, this is but a conspiratorial structure, enabling each side to get what it wants, which is indicative of depravity. Regardless of the above, if you examine my earlier art pieces, there was indeed a reflection of my identifying with Taiwan until I developed an aversion to the world’s depravity. Ｑ：If a creative individual manifests work that is even partially grounded in nationalistic underpinnings, are they regarded as an art activist or a criminal? Do you see yourself as an art activist?

 Ａ：Every individual is entitled to do what they think is right or do what they are interested in. However, in my view, nationalism is a fictitious concept. That one cares for the weak does not mean one cares only for those of the same nationality. Under the guise of nationalism, it limits one’s attention to one’s own race, which is of little point in the present era. Is there the concept of race in Meta universe? Isn’t the fixation with nationalism not manipulated by an invisible hand? I’ve considered myself a member of this world for a long time; I want to have conversations with the world and contribute what I can. Ｑ：Have you exhibited in China? Would you like to exhibit there? Why or why not? Ａ：I have exhibited my work in China, and I’d love to have exhibits there so long as good opportunities or sufficiently professional galleries should present themselves. There are just as many art enthusiasts and professional art workers and galleries like you and me in China. I’d love to travel to any place to collaborate with professionals to exhibit my art. 
It seems to me, judging from questions you’ve raised, that you’re looking to resolve some major issue at once. But you know what? I think the issue is with every one of us. If all of us could have started with ourselves to nurture small gestures of good will and beauty, we would not have such problems these days. Try to appreciate small wonders might be a decent place to start :) Ｑ：The weighty psychological aspect of your work brings to mind how someone might feel after experiencing a particularly soul-shaking therapy session – their inner truth bubbles to the surface. Is your dark style of painting therapeutic or does it emotionally drain you?
 Ａ：I like how you interpret it. In my experience, the therapeutic property is there. Though I continue trying to find the answer to this day, which propels me to incessant creation. I am aware that the answer I’m searching for might not be located in this life time, but the search continues and it does not emotionally drain me. Ｑ：Despite your deep rooted philosophical and spiritual beliefs, some interviewers say that a childlike essence still thrives within your soul. Is that accurate? What do you do to nurture your inner child? Ａ：Childlike essence? I hope I do. Ha ha. I do not do anything in particular to nurture my inner child. I just go on with my daily life. Ｑ：When you exercise your creativity, is it joyful experience, a sacred experience, or a joyfully sacred experience? 
Ａ：The experiences are pleasurable on some days, painful on others, and sacred on still others. Just like the coffee I made, it’s different everyday. 
 Ｑ：Isn’t it very challenging to honor your artistic intention - to create paintings that cannot be specifically defined - when your muses seem universally similar to all of us during our darkest, contemplative moments? 

 Ａ：Exactly, there is bound to be difference between expectation and actual attainment. A person’s dream is not always fulfilled in their lifetime. It’s not that we should give up the pursuit; it’s the process that matters. Ｑ：The natural instinct of humans is to seek meaning in things, so of course your fans want to define what your art really means. Do you appreciate the fact that people think on a deeper level about your work, even if the conclusions they make are ridiculous or completely incorrect?
 Ａ：Meanings can actually be as simple as can be. Listening to the song of the wind and having a conversation with pigment on a paint brush are meaningful in themselves. Nevertheless, I’m more than welcome to conversations and thoughts on a deeper level. Ｑ：It’s nearly impossible to appreciate your paintings strictly for their aesthetic beauty because it’s as if you offer the beholder a key to a locked room filled with mysteries. Do you regard your work as a pandora’s box begging to be opened by the viewer? Ａ：I often expect my work to be like a mirror. 

 Ｑ：Many of us have been conditioned to conceal the fragility of our human existence from the world because it’s sloppy and ugly. What does it take to manifest a painterly perspective of inner suffering? Ａ：I consider this a process of self-fulfillment, which is accompanied with beauty. Ｑ：If you created a classically beautiful portrait, would you feel as you’re sleepwalking through the painting process rather than pouring your heart and soul into it? Would it lack the substance that you’re aiming for in your artistic practice? Ａ：If I were to do this, I’d pause to admire my own techniques before fetching a good price for it! Then I’d invest the money in a studio of my dream. How I’d love to have a studio in New York! 

 
Ｑ：Do you perceive your signature aesthetic as psychologically truthful portraiture? (If that is incorrect, please explain what you believe your signature aesthetic really is.) Is some of your emotional DNA imbued into each of your paintings? Ａ：Psychologically truthful portraiture! I love the phrase! I believe my emotional DNA is imbued into my paintings. I said I expect my work to be like a mirror, that’s because it is exactly that to me. It mirrors what I am at the given moment, and once again, how my emotions sway the final presentation of the work, along with other factors, is beyond my control. Ｑ：How does your relationship with the muse you are painting change once you alter the surface of their skin with visible imperfections? Ａ：Change is taking place any time. The way I had planned to go with a painting ten seconds ago might be completely different from that ten seconds later. It might be that within this ten seconds, some past memory flashes into my head, a random call or a song, the occurrence of an incident, sudden exhilaration or despondency, any of these might change everything. But my relationship with her will never change; my works are my children. Ｑ：Just how scary (or liberating, or therapeutic) is it to paint visible veins, wounds, or other marks on the visages of your subjects? Does that mark-making process ever feel too risky? Have you ever completely ruined a portrait? Ａ：It is beautiful to me, so I see no reason for fear. What bewilders me is why it is scary for others. Ｑ：Global culture commonly renders women invisible unless they rely on cosmetic and surgical interventions to address their ‘visual inadequacies’. Does the way that you choose to represent your female muses demonstrate your support of what they look like beneath the metaphorical mask? Ａ：I disagree. I think every painting of mine is my own portrait. It’s also my belief that men, woman or multiple genders have an effect on one another, and we should all try to be like children. 
 Ｑ：During the painting process, do you develop a unique bond with each of your muses? Does it always happen at a very different stage in the creation process?

 Ａ：Put it this way, the process of painting is like a ship sailing in an ocean filled with fog. You can never know what’s around you, and only when you have anchored can you decide on what to choose next. Ｑ：Do your muses possess distinctive personalities? At what stage in your creative process do you recognize that the paint on canvas has shifted over into something more? Ａ：My muses are all me, my multifaceted personality. The pigment on the canvas is my flesh and blood. Ｑ：Do you maintain a psychic connection to your muses long after you release them into the world or are completely detached from them? Ａ：I often focus on my creation of the moment and think about what comes next because as I’ve said, the search is non-stop, but looking back occasionally at the path one has traversed is great. 
 Ｑ：If you study the faces of your muses many years after you’ve manifested them, are you transported right back to the emotional state you experienced during the creative process? Is that jarring or uncomfortable? 
 Ａ：Not at all jarring or uncomfortable. I just treasure the time we had together. Ｑ：Of all the wounds that you’ve depicted on canvas, is there one that resonates the most with you? Which one and why? Ａ：There is a piece called the scream, which, of course, is named after Munch’s. I have kept it with me to this day. It embodies such glorious emotional tension as if every stroke was spot-on. I regard this as the one piece to surpass in so as to exceed my potential. 
Ｑ：Do you recall how you felt when you first laid your eyes on art supplies? 

Ａ：A joy like no other. Ｑ：You have achieved a great many career accomplishments and accolades for someone of your youth (despite the fact that you call yourself “middle aged”(!) In the United States, you are still regarded as quite young. We call people who are 50 years of age or older middle aged😉). When will you feel like you’ve reached/exceeded your potential…or will that ever happen? Ａ：Reaching my potential!? You must be joking, I’m far from that. I’d like to go to New York to set up a studio where I expect myself to plunge into manic learning and work or collaborate with the best in the world. I still have opportunities to uncover more potential, though, obviously, many challenges in reality must be solved. Hence, I work hard everyday. 
 Ｑ：I realize that you are a highly regarded, internationally lauded artist, but scoring your own Hennessy XO commercials to promote their Chinese New Year Special Edition seems so unusual and rare. Was it weird? Fun? Do you actually like cognac? Did they pay you for the time that it took to film that commercial with a lifetime supply of their liquor? (Or was this one of the 100 other commercials you’ve already filmed?!?)
 Ａ：Hahaha, firstly, I’m not a highly-regarded or internationally lauded artist. Much more efforts are needed but I appreciate your saying it. I like cognac, and I’m also happy to film commercials for income. Like I said, I’d like to have a studio of my dream, but it does not come cheap. Ｑ：The connection that you seem to have with your dog is extremely endearing, so I hope you don’t mind if I ask you a few questions? Please tell me a little bit about your dog: Ａ：Dog’s Name:Bruce Lee Dog’s Sex: boy Dog’s Age: ：9 Dog’s Breed:King Charles Spaniel How did your dog end up becoming a part of your life?

There’s simply too much we have lived through together. 
 Ｑ：Do you have just one dog in your household? (Or any other furry family members?) Ａ：Yes, there’s only one though I must correct you, he is a hairy little person, not a dog. 
 Ｑ：Do you always paint with your dog in your lap? Does it help you to focus on your creative goals, or does it just offer you emotional comfort? Ａ：I enjoy allowing him to be himself, so, as he likes staying on my lap, I got a bigger chair to make both of us comfortable. Ｑ：Is your dog like your child? Does it sleep in your bed 😉? *(My cats sleep in my bed! No judgement – it’s the greatest thing ever!)

 Ａ：How I wish he’d sleep by my side! Unfortunately he likes to sleep on the sofa beside my bed, and I respect his choice. Ｑ：Are your painting efforts improved or enhanced because you share the experience with your dog? Ａ：He shows and teaches me love, which makes me draw better. Ｑ：You seem to take a very serious approach to creating art, using your mind body and soul to manifest each painting. Is that true? Are you so disciplined as an artist that you live, breath, eat, and sleep art? 
 Ａ：Yes, but would that be so very strange? This is the way my life is and I enjoy it. Ｑ：As cerebral and pious as you appear to be, surely you do ‘let loose’ and/or just act like a silly kid on occasion. What do you do to recharge your creative brain that is entirely ‘out of character’? (Do you tap dance? Cosplay? Knit ugly sweaters? Bake cookies?) Tell me about your guilty pleasures that make you as happy as a child! Ａ：When I am away from a canvas, I’m usually laid back and love making jokes. I enjoy reading, movies. For a while, I was crazy about surfing. Still, nothing captivates me more than painting. I’ve tried to find a different passion, but I simply cannot leave painting. I often wonder if I have psychological problems. I hope not. 
 Ｑ：Despite it appearing as though you are a very serious person, the reasons you listed here (that explain why people might want to buy your “Be An Artist” tote bag) are really funny. Now I’m wondering if you have a very dry sense of humor (like someone from the United Kingdom)? Are you actually only artistically serious? 
Ａ：No, my sense of humor isn’t the same as British humor, which I find much more wicked. Haha. Believe me, I’m a humorous person. My students often read my “bad” jokes on my personal Telegram. 
 Ｑ：Tell me a joke. Seriously! (What I’m trying to understand is….do you work very hard, but then do you flip a switch and you become the life of the party? Are you a comedian among your friends?)

 Ａ：I may not be the most popular, but I greatly enjoy time with my friends. Ｑ：Is there one aspect of your personality – apart from having a good sense of humor - that might surprise us? What crazy secret about you might your best friend tell us 😉? Ａ：Oh, I cannot possibly tell you. Those who have my secrets are all happily in a new world. You know what I mean. 😉 
Ｑ：Are you too hypercritical of your work? Do you always think that your latest painting is okay…but it could be better? Ａ：There’s always room for improvement, but I confess a couple of my recent paintings are quite extraordinary. Ｑ：What aspect of your most recent portrait gives you the most pride? (the translucence, the feeling, the aesthetic quality, etc.?) Ａ：I’ve been experimenting destroying structure from real life on the canvas. You’ll probably be able to see that I’ve been attempting this form for several years, but the feeling is becoming more concrete recently. Ｑ：What qualities must one of your paintings have to make it absolutely PERFECT in your eyes? Will it ever be possible for you to meet your high expectations? Ａ：This is a delicate question. My aesthetics is always undergoing adjustments as you can see from the changes of my work on my website. Personally I do not believe perfection to be possible. It is unattainable for human, but it is something to aspire to. What matters is what’s created and offered to others in the process.
 Ｑ：What is your loftiest art goal and have you already decided when and how you’re going to make it happen? Is that the only thing that will enable you to die entirely happy and fulfilled?
 Ａ：The loftiest art goal for me is finding, through art, what the Daoist philosopher, Laozi termed “Dao”, a path with philosophical and conceptual connotations.
This Dao sounds like a "road" in English,and it also represents the concept of "philosophy" or "thought"
 I seek it through my work on a daily basis. I can feel it, but it remains indescribable. The search for it is by nature fraught with equivocal disorientation seeing that an explainable Dao is not the true Dao. However, in spite of this lofty goal, I’ll die happy and fulfilled as long as I cherish those around me, render assistance to others, and make contribution to the world. Ｑ：You believe that the plague, death, life, and sex are inseparable from each other. I am having a hard time understanding how sex and the plague are connected😉. Would you please enlighten me?
 Ａ：Plague is connected to death, which is related to sex, at least that’s how I understand it. If a doctor told me I had only three more days to live, painting and sex would be the only two things I want to do. 😉 Ｑ：If one of your muses invited you to join them in their mist-filled in-between realm - and you had no guarantee that you’d be able to return to your normal earthy existence - would you be ready to take a leap of faith?


 Ａ：As an artist, or a serious artist, one does not get to lead a worldly life. The artist I believe is a traveler wandering in the wilderness, pathfinding in an inhuman land. This is realization I’ve come to long ago. Ｑ：At the bottom of your Beautiful Bizarre Magazine article, we will publish a list of the solo or group exhibits that you’ll be participating in from March 2022 to March 2023. If you’d like us to print information about your upcoming exhibitions, please provide the following details: Ａ：
Group Show, 2022, Arcadia Contemporary, New York, USA Group Show, 2022, Gallery Suchi, Tokyo, Japan Group Show, 2022, Gallery Sumire, Tokyo, Japan Group Show, 2022, Verduyn Gallery, Belgium
Group Show, 2022,Minimal Gallery,TaiPei