My work is a continuous search into the possibilities of painting and the equally persistent impossibility of not painting. As an artist I am based in Beijing and The Hague. Because of this my paintings are maybe as much embedded in Western art history, as they are influenced by Chinese daily live. With this I mean what I see, when I am strolling through the streets of Beijing. It are the quick-fix solutions that struck me, the inventiveness to solve a small problem in a very direct provisional way.

Like cardboard leaning against car wheels kept in position by bricks or material that is just available at the moment. It serves as a solution to protect them against peeing dogs. Or draughty windows that are often screened off with a piece of plastic foil, which is attached with slats or other accessories that happen to be available. Aesthetic concerns are not an issue here, the solutions are purely functional. I want to make paintings with a similar kind of mentality. I try to steal and appropriate this mentality. I could say that painting is a way of problem solving.

Although it feels difficult to solve them with the same necessity as those quick-fixes that I admire from China, these often feel more real. Painting as a performative act is real for me. The final painting is a recording of this act. I build them preferably with as less layers as possible, I want them to be very open, as an image they should be easy to read. I like my paintings to work as a magic trick that explains itself, without losing it's magic. They should be completely self-evident. Recently I started to bring in ‘real' magic tricks/sculptures, to give more context to my paintings.

To quote Robert Ryman: "The one quality I look for and I think is in all good painting, is that it has to look as if no struggle was involved. It has to look as if it was the most natural thing, it just happened and you don't have to think about how it happened. It has to look very easy even though it wasn't."