作品试图运用平面化的造型语言，转变材料，结合东西方的绘画元素。因为江浙一带素有“江南水乡”之称，水平如镜的富春江面上倒映着两岸的峰峦坡石，似秋初景色，树木苍苍，疏密有致地生于山间江畔，村落、平坡、亭台、渔舟、小桥等散落其间。 因为曲线如水，所以作品借鉴中国传统的水纹和马远的《水图》，并结合抽象绘画的元素，运用几何的曲线来解构中国画中的笔墨。同时又拼贴了像水滴的椭圆形，通过水纹和物像的延续从而打破椭圆的边缘，达到虚实相生，水乳交融的境界。透过现代感椭圆的镜子，仿佛穿越历史的长河，使平面抽象的画面可以追本溯源。画面中原作的特写镜头，映射出古朴真实的原始镜像。 I try to use the plane of modeling , changing material, combination of eastern and western painting elements. Because of Jiangsu and Zhejiang area, known as “jiangnan water country ”, calm water surface of the Fuchun river as a mirror, and the landscape reflected in the river. Such as both sides of the rock slope, overlapping or early autumn scenery, trees, looked like was born in the mountain river, village, flat slope, strew pavilions, fishing boat, Bridges, etc. Because curve like water, so I draw lessons from the traditional Chinese lines and Ma Yuan "water figure”, and combine with abstract painting elements, use geometrical curve to deconstruct ink in Chinese painting. At the same time collage the oval like drops of water , through the continuation of water lines and the eyeball to break the edge of the ellipse, begets to the actual situation, the state of complete harmony. Through modern elliptical mirror, as if through river of the long history, make flat abstract images of their origins. Images of the close-up of the original mapping out of primitive simplicity is true of the original image.