The word Suspending originates from a near-drowning experience in my childhood—a state of being caught in between, unable to rise, unable to sink, drifting on the edge of death, where fear vanishes and consciousness fades into stillness.

​

In this context, Suspending is not only the title of a series of works, but also a defining phase in my artistic life. It marks a substantial breakthrough following over a decade of artistic exploration and stagnation. Through years of struggle in that suspended state, I gradually learned to accept—even embrace—it as a condition of being. From this acceptance emerged a vision of metaphysical beauty that resonated deeply with my inner world—one that had not yet been consciously realized in my earlier I Ching series.

​

I vividly remember the moment I stood silently in front of the first painting from my Untitled Memory series, tears falling quietly as I whispered to myself, I’ve found it.

​

​

The outcomes of this phase were rich and transformative:

​

A, The Poem Series – A group of sculptures developed over six years. It served as both the practical realization of my graduate thesis “On the Taoist Manifestation in Sculpture” and a reflection on humanity’s condition of enslavement. More personally, it completed a process of psychological healing—perhaps the most profound of my life.

​

B, The completion of the Untitled Memory and Suspending painting series – These works established the metaphysical core of my abstract painting practice, giving form to an inward, intuitive truth.

​

C, Theoretical and written production – This period also yielded a body of critical writing, including:
“The Inner Logic of Abstract Art: A Convergence of Art History and Philosophy"

​

“Minimalism Is Not Abstraction, Nor Is It Cold,”                                                                                                      
“Void Wanders in Void, Abundance Disappears in Abundance: Transcending the Dilemma of Counterpoint,       

​

   “A Conversation on Wu Guanzhong’s Art: Luo Yi and Jia Fangzhou, 2010.” 

​

Here focuses on outcome B...

​

​