1) How did the situation of Chinese contemporary art change in the past few years? How did Chinese artist's life change?

　　In fact it has been nearly 30 years since the development of Chinese contemporary art. The achievement of Chinese contemporary artists has been well recognized internationally at least from beginning of 1990s. It has caught greater attention only in the recent years probably because of the outstanding performance of Chinese contemporary art in the art market at home and abroad. All contemporary art associated business and resources, such as the number of artists, galleries, auction houses, media, collection fund and interested public and etc. all flourished, which has significantly changed the situation of Chinese contemporary art. In my point of view, it is too early to make judgment on whether the result of such changes is good or bad. Perhaps "double-edge-sword" is a proper expression.

　　Life of artists also changed and at least their working conditions are much better than before. You know life of the whole Chinese people has been improved.

　　2) What are your inspirations in modern Chinese society?

　　Development of Chinese society where I grew up and have lived is the most direct source of my inspirations.

　　I started to be engaged in art creation at the beginning of 1990s. I had been greatly interested in popular culture, public culture and consumer culture, which were the main sources of my inspirations. Another clue of my art creation is integration of my feelings on Chinese folk color system and contemporary commercial color system.

　　During the course of China’s opening, reform, rapid development of economy since the 1990’s, the life of people has changed tremendously and consumer culture entered its primary stage. My major creations in this period included “Anatomy” series (1992-1993), “Recounting of Skin” series (1994-1996) and “Romantic Trip” series (1996-1999). “Anatomy” series mainly shows my contradictory mind and confusion between accepting and refusing of swarming and enormous popular culture. “Recounting of Skin” series narrates that while expanded consumer production and affluent consumer manner brought rich economic life, it also brought destroy upon natural zoological balance and influence on people’s physical and mental health. As my foremost creation during 1990s, “Romantic Trip” series presents people’s expansion of vanity and desire during pursuing for new consumer manners and happiness indexes. Artistic critics deem creation of this period is “Kitsch art” and also “New rich farmer gout” art presented by consumer culture.

　　After the year 2000, social development and public life in China became more and more international, urbanized and fashionable. My main creations in this period include “Coolness” series (2000-2001), “Butterfly in Love” series (2001-2003), the to-be-continued “Chinese Portrait” series (2000- ) and “Life Like Flower” series (2006- ). “Coolness” series attempts to break through from detail and narration of “Romantic Trip” series to shape fashionable and future “post-mankind”. “Butterfly in Love” series makes modern fashionable women and women in old Shanghai of the 20th century stack up against each other with ambiguous gesture and complicated eyesight to examine respective styles. “Life Like Flower” series conveys my new experience and understanding about life with painting, sculpture and device etc. Through compact figure, popular mode, simple but strong comparative colors, “Chinese Portrait” series depicts puzzling and empty psychological portrait of contemporary Chinese with coat of international urbanism in flourishing consumer culture. This period presents “urban popular interest” of consumer culture. Li Xianting, a well known Chinese contemporary artistic critic, considers that “Chinese Portrait” series is a classic of consumer culture.

　　3) Some critics say Chinese modern artists now tend to do what the market wants, especially western market, and lose their originality? Do you think it is true?

　　The critique of this kind never stopped since the word "market" is known to all. As there are so many artists in China, it is impossible for me to know the purpose and orientation of each artist. The only thing I can do is to restraint the childish judgment of "market-oriented" or "none market-oriented" to affect my art creation. In other words, my creation is not market-oriented.

　　4) May I ask how expensive was the most expensive of your paintings that you sold? (if this is a rude question, please don't answer!)

　　More than a million US dollars.

　　5) Where is your gallery? Do you have a place in Dashanzi?

　　I have a studio at Feijiacun, Beijing. I don't have a studio in Dashanzi.