My current work explores the question of memory in the context of the erosion of our relation to the past. In China, the violent negation of the past and the destruction of the environment have deeply affected people’s relation to their individual memory. In such conditions, my relation to collective memory — and thus to my personal memory — can only be reconstructed through a search for universality. As an artist exiled in France, my work also questions Western societies’ relation to their memory in the way it is obstructed by the spectacularization of our time and the desensitization of our gazes. In my eyes, figurative painting becomes a weapon to assert the materiality of reality and the impossibility to remain in the abstraction of timelessness, thus challenging the virtualization of our time and the evasion from collective emotionality. I am interested in the confrontation and the penetration of both abstract-figurative representations and Western-Chinese aesthetics. Following my practice of mural painting, I began to develop a new direction for my work on canvas by painting on large formats and fragmenting the image on several canvases to express the tension between the necessity to embrace reality and the impossibility to escape the artificial construction of our own memory.