The genesis of Fiery Ink(also means Fire Ink)  traces back to the winter of 2015, when a red alert smog in Beijing deeply impacted me. I felt a jarring disconnect: the ancient land, steeped in China's history, now bore little resemblance to the 'livable and wander able ideal landscapes of classical art. Traditional landscape painting celebrated the 'moist' and 'nourishing' qualities of ink to capture the misty essence of the world. Yet, confronted by the acrid, dry haze of modern industrial society, this 'moist ink' aesthetic felt utterly outmoded, revealing the limitations of traditional ink vocabulary in addressing contemporary reality. Thus, I began to recreate classical landscape masterpieces using the charred, dry ash of burnt Xuan paper, introducing my unique Fire Ink. This Fire Ink serves as a 'dry' symptom of the current haze, directly confronting water with fire, thereby reversing the material nature of ink and re-establishing the contextual language of traditional landscape painting. This artistic choice not only formally (through the very medium) engages with the agitated reality of global warming, but also discursively pushes the aesthetic language of ink beyond its traditional confines, imbuing it with a contemporary relevance.

「火墨」創作源於2015年冬赴北京時遭遇霧霾紅色警報時的體感震憾，我感到承載中國千年歷史的古老大地，如今卻與古畫中可居可遊的理想山水相去甚遠。古典山水畫論中講求以墨瀋淋漓表現天地氤氳之象，發展出以「潤」「滋」水性用墨為主的美學觀點。然而面對現代工業社會所產生的焦灼霾氣時，傳統的潤墨美學顯已不合時宜，這意味著傳統水墨語彙對應當代現狀的不足。於是，我透過燒灼宣紙的焦燥碳灰臨摹傳統山水畫的經典之作，提出獨創的「火墨」，作為當今霾霧現象的「燥」氣徵候，以火對應水，翻轉墨的材質與重新置換傳統山水畫的墨性語境。這不僅僅是從墨材物性的形式角度，貼近燥動不安的全球暖化氣候現象，更從論述內容上讓墨性美學語彙跳出傳統框架，具有現代性語境。