《站立的蒙娜琳》2022年   混合媒体  190厘米 x 110厘米 曾有一度，我十分迷恋油画经典作品，在思考和探索的过程里画了一幅油画《蒙娜琳》，当时没想象到她会成为混合媒体《站立的蒙娜琳》的主要部分。 都知道达芬奇的作品《蒙娜丽莎》数百年来一直“病毒式的传播”，我也忍不住做了个自己的版本。借《蒙娜丽莎》的時尚，认真地使自画像的轮廓、明暗与《蒙娜丽莎》肖像相匹配。 不过《蒙娜琳》的手更强大—以此鼓励用手工作的現代女性； 肤色更深，符合我们的亞洲肤色； 让人开心的是，我顺便把自己负责的旧金山亚洲美术学校也画入了背景。最后需要考虑的一个特征是：微笑。 我不忍心改变它。 在画自画像时，我谦虚地尝试模仿《蒙娜丽莎》的微笑，因为那是感动全世界的微笑。 在油画《蒙娜琳》完成后的几年里，她曾数次参加展览，在最近的一次欢迎她回到工作室时，我找到了一条符合她风格的裙子，和一双红皮鞋。通过这次尝试，油画《蒙娜琳》真的站了起来。 本作品定格与混合媒体，我使用了普通的物品：一个调色板、一条裙子、一双靴子和一只梨，让经典人物的存在超越了传统的框架。 Mona Lin Standing,  2022，Mixed Media，75”x 43“     At one time, I was obsessed with classic oil paintings. In the process of exploring this medium and its techniques, I created an oil painting I called Mona Lin. Knowing that Leonardo da Vinci's Mona Lisa had been “viral” for hundreds of years, I couldn't resist making my own version.     I borrowed much from the great Leonardo. The self-portrait's contours, and the lights and the shadows are carefully matched to the Mona Lisa portrait. But Mona Lin has bigger and stronger hands—I am, after all, a modern woman that works with her hands. I also made the Mona Lin’s skin tone darker to match my own Asian skin tone. The most joyful change was to insert San Francisco, and my own Asian Arts School into the background. There was one feature left to be considered: the smile. I could not bear to deliberately alter it. In painting my Mona Lin I humbly tried to match Mona Lisa’s smile because that smile inspires people of every race and culture.     In the years after I painted her, Mona Lin participated in several exhibitions. After one of her absences. I welcomed her back to the studio by finding her a dress that fit her style, and a pair of red leather shoes. With this addition, the oil painting Mona Lin stood up and came to life. That’s how Mona Lin Standing was born.     I have used ordinary objects: a palette, a skirt, a pair of boots and a pear, to animate the presence of a classic figure beyond its traditional frame.