初遇艺术，是中学的水彩课。几位同伴，一起举办一次小小的联展。此后走入逻辑与分析，画笔搁下多年。 再遇，是陪孩子做手工的时候。旧火复燃，遂转向内在，以相机为起点，认真学习摄影。 摄影让心安静，思绪得以松开。照片，是另一种自我的表达。 多年之后，当年联展的同伴重聚，再度同展。这一次，不只有摄影，搁下的画笔，也重新拿起。
初遇艺术，是中学的水彩课。几位同伴，一起举办一次小小的联展。此后走入逻辑与分析，画笔搁下多年。
再遇，是陪孩子做手工的时候。旧火复燃，遂转向内在，以相机为起点，认真学习摄影。
摄影让心安静，思绪得以松开。照片，是另一种自我的表达。
多年之后，当年联展的同伴重聚，再度同展。这一次，不只有摄影，搁下的画笔，也重新拿起。
Art arrived first in secondary school — watercolour, a few friends, one small joint exhibition. Then a long detour into logic and analysis; the brush was set down.
It returned while accompanying the children in their craft work. The old spark rekindled, and the turn inward began — a camera, and photography taken seriously.
It brings quiet and lets the mind loosen. The photographs are another way of expressing oneself.
Years on, the friends of that first exhibition have gathered again, showing side by side. This time, not photography alone — the brush, once set down, is taken up as well.
凌水，即高出水面、越水而开。荷生于池塘、湖泊与溪边，根在泥里，叶浮水面，唯独花高出水面而开。 在许多地方，荷都被赋予意义。佛家以荷象征觉悟，花开于泥水之上；印度神话里，创世之神自荷中诞生；在东方文人笔下，荷是「中通外直，不蔓不枝」的君子。人们看见的，往往是荷从浊水里长出、却不沾浊水的那一种姿态。 第一次走近荷塘，是花开正盛的季节。一池之中，同时看见花苞、盛放与莲蓬，一株荷的一生，在一个上午里全都在眼前。花开时并不喧哗，它只是安静地把自己交给光。 后来才留意到花以外的东西：叶上的雨水各自归位，卷着的叶还一滴没沾；老叶护着新苞；花与它水中的影，一个朝上，一个朝下。花不是荷的全部，只是最先被看见的那一部分。 这十件作品，记录的是荷与它所处环境的关系—泥、水、光、雨，以及它在这些之间，各自的位置。
Lotus grows in ponds, lakes and along the edges of streams. Its roots sit in the mud, its leaves rest on the water; only the flower rises above the water to open. In many places, the lotus has been given meaning. Buddhism takes it as a sign of enlightenment — rising from the mud unstained. In Hindu tradition, the creator god is born from a lotus. In Chinese literature it stands for the gentleman: straight within, unbranched, untangled. What people notice, most often, is that short distance between the muddy water the lotus grows from and the flower it never lets the mud touch. The first visit to the lotus pond came in full season. In one pond, bud, bloom and seed pod stood side by side — the whole life of a plant in a single morning. A flower opening makes no announcement; it simply gives itself, quietly, to the light. Only later did the things beyond the flower come into view: rain settling into the leaf, each drop in its place, while the furled leaf stayed dry; old leaves sheltering a young bud; a flower and its reflection, one facing up, one facing down. The flower is not the whole of the lotus — only the part that is seen first. These ten works record the lotus and its relationship with what surrounds it — mud, water, light, rain — and the place each one takes among them.
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