画这些摄影名作，探讨的是关于绘画和摄影之间的关系。二者间的关系从摄影一出现就无法摆脱，对我个人而言也是纠缠许久，是我非常在意的摄影问题之一。我也持续地在做一些尝试，从《鸩》隐约的与中国传统绘画的关系到直接在照片上手工上色和绘画，也尝试过在现成的图像上进行画面的改造，但更偏向于绘画。

在这组作品中我放弃了这些实验，最初只是想简单地用绘画去临摹摄影，尽可能的放松与克制自己的绘画技巧，把所有的重点放在观看照片之上，从而更充分去了解一幅伟大作品的每一个细节。这种带有明确目的、被绘画介入的观察方式完全不同于普通的观看，它带给我一种扫描般的目光，同时两种媒介间微妙的转换与碰撞不断在我脑中发生作用。

从现实到摄影，从摄影到绘画，再从绘画到成为了现实的摄影，一幅根据照片完成的画（几乎已经成为了一种传统的方式）似乎从来都是一幅画。但是通过临摹这些摄影名作，画“摄影”成为了可能的事情，这些名作强大的阻挡在了被拍摄的物象的面前，深深地印入每一个对摄影和摄影史有所了解的人的脑子里，使绘画无法穿透摄影而直达这些对象，我终于可以明确无疑的看到一幅照片。摄影在这里占据了上风，绘画成为了摄影的替代品而不是相反，只是我没有想到的是竟然是绘画打败了绘画。

When painting these works, I considered famous photographic pieces so it is clearly about the relationship between painting and photography. This relationship has been unshakeable since the emergence of photography and it’s pestered me as individually for a long time—you could say it’s my second biggest issue with photography. I’ve made some attempts, from the faint inkling of Chinese traditional painting in the piece Zhen, to directly applying color by hand to the surface of photographs; I later experimented with drawing on ready-made images but I’ve always been more partial to painting. This year I quit all these experiments, initially thinking I would simply use ink painting to copy photography and attempt as much as possible to relax and restrain my painting technique. By placing all the focus on the photograph, I could more deeply understand every detail of a masterpiece. This type of observational methodology is completely different from conventional viewing. Returning to my entanglement with painting and photography, I definitely wanted to parse out victory and defeat between the two. Reality to photography, photography to painting, painting becoming real photography. Paintings based entirely upon photography always seems to be more like drawings. But by directly copying these famous photographic works, drawing “photography” became a real possibility—these formidable renowned works which obstruct the face of photographed phenomena, deeply imprinted in the minds of everyone with an understanding of photography and photographic history—render painting unable to penetrate photography and reach the subject directly. In this, I was finally able to clearly, undoubtedly see a photograph. Photography occupies the advantageous position, painting becomes its substitute and not its opposite. Herein, to my surprise, painting defeats painting, and you can call me a photographic double agent.