These works I brought to exhibit in America represent my dedication over the past two years. You might call them abstract landscape paintings, but they are more accurately described as "imagery." I've named this collection "Senxiangism." I no longer wish to paint in the traditional Chinese style—continuing down that path holds little meaning for me. Art must innovate; it must keep pace with the times. Recently, I formally introduced the concept of Senxiangism, and we are currently developing a digital exhibition hall for these works. Some may think I've lost my mind—daring to establish a new school despite not being a master-level figure, lacking both stature and resources. But I know exactly where my paintings stand in terms of artistic merit.
My paintings deserve to be in museums because no one in the entire history of Chinese painting has created works like these—not even myself, as I am still exploring, such as selecting the right pigments and paper for refinement. But I will not deviate from the essence of Chinese painting; I must ensure my works retain those traditional elements. Chinese painting pigments tend to be muted, but I won’t resort to synthetic pigments just for brighter colors. While synthetic pigments are vivid, they lack longevity—their colors fade within years. I refuse to engage in such deceit; there’s no need. Painting is part of my life, and I see no reason to falsify it. Instead, I choose the finest materials to ensure my works endure, outliving us by centuries. This is the integrity of an artist.