Interview with Wanning Liao — Contemporary Art Curator Magazine

Liao Wanneng, female, was born in Chongqing, China in October 1973.
1994-2000: Graduated from the Second Studio of Oil Painting Department of Xi 'an Academy of Fine Arts, Shaanxi Province, China (research direction: Impressionist art) with a master's degree.
2001-2010: Art Director of Love, a large comprehensive fashion magazine in China.
2007-2010: Signed with Baobaoqu Art Museum, Hong Kong.
In 2014, I founded my own art school (Wanning Art) and have been there ever since.
In 2023, he settled in Toronto, Canada and became a professional artist. He is dedicated to painting.

Summary of exhibition and award winning experience

April 2023: Oil painting "Daydream" won the silver prize of INNOART PRIZE International Art Competition;
June 2023: Oil painting "Men's Spiritual Exhaustion" won the 161st International Art Sand Exhibition in Paris, France
April 2024: Oil painting "Cloud Shoulder" won the INNOART PRIZE International Art Competition silver award;
April 2024: Oil painting "Women's Life" was selected for the 7th Annual International Exhibition of Female Artists in American Fusion Art and won the honorary award;
September 2024: Join the American Oil Painters Association and become an OPA member;
October 2024: Join the American Portrait Society;
October 2024: Join the Canadian Artists Association SCA;
October 2024: Won 3 American Art Awards in the American Art Competition;
December 2024: Sandra Miranda, a famous Italian art critic, interviewed Liao Wanning;
December 2024: Canadian Artists Association SAATCHI ART set up a personal website for Liao Wan-ying;
January 2025: Oil painting "The Corner of the City" won the honorary award of LightsPace Urban Landscape Art Exhibition;
January 2025: Interview with lA TOSCANA NOOVA, Italian art authority magazine, cover;
February 2025: Light Space Gallery in the United States announced that Liao Wan-ning was appointed as a guest artist by the gallery;
February 2025: Oil painting "Chinese Coffee Table" won the 2025 Special Art Award from The French Circle of Art Foundation;
March 2025: Selected as CPSA member by the American Colored Pencil Association;
March 2025: Colored pencil sketch "Painful Loss of My Love" was selected for the 195th Annual Exhibition of RHA, Royal Irish Academy;
March 2025: Oil painting "The Eye of the Future" and its review were published in Issue 41 of Spotlight magazine;
March 2025: Oil painting "Chinese Countryside" triptych was selected for the 2025 Annual Exhibition of the New England Art Club;
March 2025: Oil paintings "Back to Canaan 2", "The Eye of the Future", "Daddy's Baby", "Four Old Antiques" and "Chinese Shadow Play" were selected for the final of the Tajik International Competition held in Spain;
April 2025: "Return to Canaan 2" was selected for the 34th National Review Exhibition in the United States;
April 2025: Colored pencil "Found a Fairy Tale Book" won the INNOART PRIZE Silver Award in the International Art Competition;
April 2025: Oil painting "Chinese Coffee Table 2" won the grand Prize of the 146th International Artist Magazine Challenge;
April 2025: Collage sketch "Daughter at Home" was selected for the 2025 London Biennale;
In May 2025, the colored pencil drawing "Baby Don't Look" was selected for the second HERENOW 2025 Annual Review Group Member Works Exhibition in Canada;
In May 2025, colored pencil drawings "Where Are You, Dad?" and "Standing in the Cold Wind" were selected for the 11th issue of Art Review of the French Quarterly Circle;

Your current ambitious project is a series of 100 colored pencil drawings about the War in Ukraine, transforming a private medium into an epic narrative. What attracted you to choose colored pencils as the medium for such a large-scale historical meditation?

The primary reason for choosing colored pencils is their convenience and efficiency. Over the period from 2016 to 2017, I used pencils to create over 120 sketches of famous Chinese writers and poets, a significant body of work. Through this process, I developed efficient techniques for sketching. Therefore, using pencils for drawing has become a skill I can master proficiently.

For a visual artist, creating a series of 100 works would be a grand and ambitious project in any era. However, if this series is used to depict the harsh realities of the Russia-Ukraine conflict and to reflect the Ukrainian people's indomitable will to resist Russian aggression, it seems somewhat insignificant. Nevertheless, I have chosen this method to express my stance and attitude towards this shameful war of the 21st century. I believe this is the most direct and sincere expression of a conscientious artist. I choose to stand up for justice and join the fight with my brush! Rather than remain numb in my studio, quietly watching the war unfold mercilessly!!

How do you balance the tension between the vulnerability of the medium and the seriousness of the subject?

This is the first thing I considered. In 2023, I came to Canada. What I experienced first was the freedom of watching the world. The freedom of the Internet allowed me to watch a large number of foreign art websites, various art institutions, art museums, galleries and other professional art institutions' websites and the current situation of the creation of foreign peers.

The vast number of contemporary art works by foreign artists has deeply impressed me. Firstly, classical figurative art pieces are relatively scarce, with contemporary paintings making up 70% of the contemporary art scene. Secondly, the use of bright colors and the interplay of lines and color blocks differ significantly from my experiences during my time in China. Chinese artists tend to be more conservative in their painting techniques, lacking creativity and imagination. I spent six years training in the oil painting program at the Xi'an Academy of Fine Arts, one of the eight national public fine arts academies in China. Whether using canvas, sketch paper, or watercolor paper, the medium is essentially the same. The differences lie in the complexity of the process, the duration required, and the expressive power of the artwork.

The physical characteristics of colored pencils —— their lightness and spontaneity contrast sharply with the gravity and brutality of war, creating a subtle dialogue. The fragility of the pencil leads to a sense of powerlessness in the face of war, while its malleability symbolizes humanity's relentless pursuit of peace. I transform the pencil's fragility into an emotional medium, allowing viewers to feel the cruelty of war and touch the warmth of hope as they gaze at the artwork. Each scratch on the pencil is a protest against violence, and each stroke of color is a testament to the dignity of life.

Through the conflict between painting materials and reality, the metaphor of war's duality is conveyed: it both destroys and brings new life. This contradiction in the medium resonates with the resilience of the Ukrainian people during the war —— I use the fragility of the pencil to combat the violence of war, and the fleeting nature of colors to bear witness to the eternal spirit of resistance. The simplicity of colored pencils contrasts with the complexity of the war theme, creating a philosophical tension. The monochrome of the pencil symbolizes the diverse values that are obscured in war, while its ability to be layered represents humanity's reconstruction of truth. Each layer added by the pencil repairs historical memory, and each stroke of color reaffirms moral order. The private nature of colored pencils contrasts with the public nature of the war theme, forming a tension in moral stance.

I want to use these 100 works to transform the cruelty of war into a call for human solidarity. Every movement of the pencil is a denial of the atrocities of war, and every stroke of color is a promise of peace. What I convey through my pencil drawings is not only anger, but also the commitment to the dignity of life.

Your work has long been sensitive to time and memory, often presented through still lifes and portraits. How do you balance the artist's impulse to witness, the historian's pursuit of accuracy, and the humanist call for empathy when exploring ongoing and unresolved geopolitical conflicts?

This is an excellent question. I rarely reflect on how I create. It's a natural part of my life, and I never think about the material or fame that painting might bring me. After 30 years in the art world, I feel like I've always been an outsider to the professional art scene. During my time in China, my artistic work relied on commercial commissions and other design projects to sustain it. Becoming a professional artist has always been my goal, but it's challenging to achieve this in China.

In China, participating in exhibitions and competitions is a common practice. Most painting creations are deliberately avoided, detached from political ideology, and often limited to still life, landscapes, or portraits of others, which do not reflect the artist's thoughts or artistic perspectives. However, I have also created many paintings that capture observations of life and society. These works have been entered in international competitions, and fortunately, I have won awards for them, such as' Daydream, '' Women's Life,' 'Men's Wisdom, '' Chinese Cloud Shoulder, '' Chinese Coffee Table, 'and' Sunflowers.' These works truly express my inner artistic concepts.

Additionally, influenced by the family atmosphere during my childhood, I developed a passion for collecting antiques. In 2019, I created a series of 54 oil paintings titled 'Old Antiques.' This series has received the most positive reviews to date. However, due to the large number of works, it was not possible to enter all of them in competitions or exhibitions, which is a significant regret. Despite this, this series is one of my favorites, and I spent an entire year creating it.

This creation of the Ukrainian series stems from my paintings 'Return to Canaan' 1 and 2, as well as an oil painting titled 'The Eye of the Future.' This work explores the impact of the current anti-globalization trend on the next generation of children. In the Internet age, the world is filled with the gaming industry, entertainment, sexual violence, drugs, war, money, and fame... What do children see in this world

However, in a peaceful environment, there is a local war. Where do people go when they lose their homes?

My works have long been sensitive to time and memory, mostly in the form of still lifes and portraits. However, these 100 war-themed pieces still fall within the scope of 'time and memory.' Therefore, when I chose them as my new creative goals and plans, I was not at all surprised. Instead, it led me to invest more time and effort into a field I had never explored before...

As a female artist, I have long explored themes of time and memory through still life and portrait paintings, aiming to capture fleeting moments on canvas and the profound emotions hidden in everyday life. However, when confronted with a prolonged and unresolved geopolitical conflict —— such as Russia's invasion of Ukraine, I found myself in a deep inner struggle: how to balance the artist's impulse to document, the historian's need for accuracy, and the humanist's call for empathy? This challenge not only questions my creative approach but also delves into the essence of art and its moral responsibilities.

Art is not only a reflection of beauty; it is also a mirror of the times, a response to reality. The Russian invasion of Ukraine is a brutal trampling on human dignity and freedom, and I cannot stand idly by such suffering. As an artist, I feel a strong urge to document, record, and voice through my work.

Many of your visual languages, especially in works like Daydream and Return to Canaan, seem to be in a surreal, nostalgic realm. How do you conceptualize the relationship between realism and symbolism, what you see and what you feel, in your war series?

As a female artist, I have long explored the interplay of time and memory through my work. In particular, in "Daydream" and "Return to Canaan," I aimed to create a surreal, memory-rich texture on the canvas. When tackling the heavy and complex theme of war, the relationship between realism and symbolism, as well as between what is seen and what is perceived, became central to my creative process. This not only involves the choice of artistic techniques but also how art can touch the shared moral and emotional depths of humanity.

Realism in art is a faithful representation of the visible world, while symbolism reveals deeper truths through symbols and metaphors. In my war series, I chose to interweave these two styles to present the dual face —— its brutal reality and profound symbolic meaning.

I won't directly depict the brutal and bloody scenes in these works. To me, art should often serve as a reminder, a warning, and a catalyst for reflection. This is why I dislike works that focus solely on technique. I hope the images have narrative and poetic qualities, with stories hidden beneath them. Identifying the underlying causes of these stories is the sole criterion for judging the narrative strength of the images in my work.

I am very lucky. In 2023, I met Mr.Zhang Hongbin, a famous Chinese art agent Sheng Xinyu. After communicating with him about painting this series, he was very supportive and gave me a lot of good suggestions. I divided the creation into six units:

Unit 1: The Wounds of War —— The Destruction of Home (15 pictures)

Module II: Innocent Victims —— Suffering of Women and Children (15 images)

Unit 3: Elegy of the City —— Destruction of Cities and Countryside (15 pictures)

Unit 4: Indomitable Will —— The Resistance of the Ukrainian Army and People (20 pictures)

Unit 5: The Cruel War —— The Real Face of the Battlefield (15 pictures)

Unit 6: Ode to Heroes —— Heroes of Ukraine (20 pictures)

War is the most direct form of violence in human history, destroying lives, families, and homes. Therefore, my war series must include depictions of these realities. I might paint a village devastated by artillery fire, with shattered houses and scattered personal items that speak volumes about the destructive power of war; or I might depict a soldier's face, his eyes revealing weariness and fear. Such direct depictions are essential because art has a responsibility to document the scars of our times, making it impossible for viewers to ignore the truth.

However, realism is not just about depicting blood and destruction. It also requires me to capture the details that are often overlooked in war —— a toy in a child's hand, an undelivered letter home. These details are not only faithful records of reality but also reveal human nature in extreme conditions.

War is not only a physical conflict but also a battlefield of morality and spirit. Symbolism allows me to explore the impact of war on the human soul through metaphors and symbols. For instance, I once created a painting featuring a tree scorched by war, yet sprouting new leaves on its trunk, symbolizing hope and rebirth; or a still life of a broken mirror reflecting scenes from peacetime, symbolizing how war destroys memories and identities. Symbolism enables me to transcend the surface of war and delve into deeper philosophical questions —— how war distorts time, erases memory, and challenges moral boundaries. Through these symbols, I invite viewers to enter a space for reflection, contemplating the essence of war and the future of humanity.

In the war series, realism and symbolism are not in opposition but complement each other. Realism provides a solid foundation, allowing viewers to confront the harsh realities of war; while symbolism adds meaning to these harsh realities, guiding viewers from immediate shock to deeper reflection. What we see is the world as perceived through our senses, whereas intuition is the deep insight and emotion within us. In the war series, these two elements together shape my understanding and expression of war.

The sights of war are blood and fire, ruins and tears. I depict these scenes through realistic techniques, allowing viewers to confront the horrors of war directly. For instance, I once painted a portrait of an Ukrainian refugee, whose eyes conveyed both the sorrow of losing her home and the confusion about the future. This direct portrayal makes it impossible for viewers to ignore the harsh realities of war, compelling them to empathize with the characters in the painting. However, the impact goes beyond mere visual representation. Through composition and color, I enhance this impact —— the somber tones and fragmented lines convey the chaos and despair of war.

Intuition is my deeper understanding of war in my creative work —— it involves human fear, hope, and moral struggles. In my war series, I explore emotions that cannot be expressed in words through intuition. For instance, I once painted a still life with a stopped clock and a withered bouquet of flowers, symbolizing how war can freeze time and stifle life. These images are not directly derived from what I see but stem from my inner feelings about war. Intuition also allows me to transcend personal perspectives and touch upon universal emotions. I believe that the human desire for peace and empathy for suffering are universal, regardless of nationality or culture. Therefore, my works are not just responses to specific wars but also reflections on the shared destiny of humanity.

What I see and my intuition together constitute my cognition of war. What I see makes me face the reality, and my intuition makes me see the meaning behind it. Through the combination of these two, I hope that my work can not only touch the senses of the audience, but also touch their hearts.

Amid the shadows of war, art is not only a witness but also a beacon of hope. My War series, blending realism with symbolism and intuition with perception, aims to uncover meaning in chaos and convey hope amidst suffering. I am fully aware that a single painting cannot alter the course of war, but it can serve as a vessel for memory, reminding us of the cost of war and inspiring us to strive for peace. As Nietzsche once said, "Without music, life would be a mistake." I wish to replace 'music' with 'art' —— Without art, humanity would lose the possibility of reflection and redemption. In this era of conflict, I choose to respond through my brush, using art to protect human nature and call for peace.

You mentioned that Ukraine's cultural identity has been rewritten under pressure, while Russia's aggressive narrative is seen as a post-imperial echo. As a Chinese artist living in Canada, how do you see your role in interpreting the European war? What perspectives or distances do you think your transnational perspective allows or hinders?

That's a great question. I haven't really thought about it, but it's a great opportunity for people like us who are far away from the European continent to feel lucky.

I have read many news articles and seen numerous images of war. I can deeply empathize with the scenes in the photos: mothers who have lost their sons, and the life-and-death separations from loved ones. I wonder when the drone bombs will strike? I wonder if my loved ones will return. This is a truly cruel situation. People are not plants; their dignity and right to survival are so brutally violated. What can I do? I hope to raise the empathy of those who only care about their own basic needs.

Having lived in China for decades, I know that power is terrifying and intimidating, and life is as insignificant as grass. This should not be the situation of mankind. Why should a few imperial leaders decide the fate of more than 3 billion people?

As a Chinese female artist living in Canada, I stand at the unique intersection of Eastern and Western cultures, examining the Ukrainian conflict from multiple perspectives and identities. As an artist, my role is not only to create beauty but also to serve as a witness and reflect on the fate of humanity. Under the pressure of war, Ukraine's cultural identity has been rewritten —— traditional symbols have been shattered by artillery fire, and memories and beliefs have been forcibly reshaped by violence. This scene deeply saddens me, for I understand that culture is the soul of a nation, the spiritual foundation upon which individuals and collectives depend. The aggressive narrative of Russia, echoing the post-imperial era, not only poses a direct threat to Ukraine but also challenges global peace and diverse values. It stirs up the ghosts of history, attempting to recreate past hegemony through force, while ignoring the universal human pursuit of freedom and dignity.

My identity —— Living in Canada's multicultural society has given me a universal perspective that transcends national boundaries. My art serves as a silent protest and a bridge for communication. I use my brush to capture the cruelty of war and the light of human nature, aiming to awaken viewers' appreciation for peace and respect for cultural diversity. My moral stance is clear and firm: I oppose Russia's aggressive actions, which I view as a blatant violation of international law and human dignity. Art gives me the responsibility to express this stance —— not through loud slogans, but through quiet yet powerful images, urging global audiences to reflect on the essence of war and to oppose any form of violence and oppression.

I have been able to interpret this European war from multiple perspectives. My Eastern background has enabled me to keenly perceive the flow of time and memory, and understand how culture can become a source of resistance and hope in times of hardship. My Western life experiences have made me value freedom, individual rights, and the coexistence of diverse cultures. This dual perspective allows me to transcend the narrow geopolitical framework and view conflicts within a broader global context.

My international brush allows me to capture the universal resonance of emotions. The suffering of war transcends national boundaries —— the longing for home, the yearning for loved ones, and the desire for peace are shared human feelings. I once envisioned a still life: beside a withered flower, an open Ukrainian poetry book is barely visible amidst the war, its verses telling stories of loss and hope. This painting belongs not only to Ukraine but also to every soul who has experienced turmoil. It reminds us that the pursuit of dignity and freedom is eternal, no matter where we are.

However, this transnational perspective also brings complex perspectives and distances. I am both an outsider and an insider because of human empathy. This dual state of "alienation and intimacy" gives me a unique insight, but it also requires me to be highly conscious and cautious in my creation.

I see myself as a bridge for cultural exchange and a guardian of morality. My international perspective allows me to interpret the Ukrainian conflict from multiple angles, presenting its specific historical and cultural dimensions while touching on universal philosophical and moral issues. My paintings are not only a pursuit of beauty but also a call to conscience —— By depicting the cruelty of war and the light of human nature, I hope to inspire global audiences to value peace and understand multiculturalism.

In this era of division, art serves as a beacon of hope. I wish to use my brush as a medium to convey the belief in human dignity and peace to every viewer. No matter how war reshapes cultural identity, humanity's pursuit of freedom and empathy will remain eternal, and my art will always be a testament and echo to this quest.

This series of works is not only an artistic experiment, but also a moral and historical defense. Do you think your paintings have a broader archival responsibility to document things that might otherwise be erased? If so, how does this influence your choice of composition, detail, or repetition of images?

It's definitely a new artistic experiment. The idea of a broader archival responsibility is very fresh and good.

My 100 works are not only a record of the war in Ukraine but also an archive that constructs cross-cultural memories through art. By employing structured narratives, symbolic details, and recurring themes, I aim to strike a balance between moral resistance and historical preservation, making Ukraine's suffering and resilience a part of global art history. These artworks are not just witnesses to the war; they also embody the power of healing and reconstruction.

The 100 works on the Ukrainian war differ from all my previous creations in that they are not just a series of artworks. They also encompass various elements beyond art, such as history and reality, human nature and conscience, justice and evil, morality and responsibility. Therefore, when creating this series, I did not plan and compose solely from an artistic perspective but focused on depicting and reflecting the true scenes of war and handling the composition from the first-person perspective of the war. I aimed to break free from my painting experience and traditional norms, experimenting in areas I had never explored before. In this series, I allowed my thoughts, emotions, and painting techniques to closely follow the rhythm and reality of the war, rather than my personal subjective wishes. Thus, these works aim to reflect the authenticity of war while ignoring the constraints of artistic norms.

The core mission of Ukrainian war art is to 'document' and 'heal.' I aim to break away from traditional painting norms by capturing the true scenes of war through a first-person perspective —— whether it's houses torn apart by artillery fire, children running in the ruins, or soldiers gazing silently into the distance from their shelters. These images no longer rely on subjective narratives but convey the brutality of war through visual impact. This' non-sensitization' approach avoids overemphasizing trauma and evokes collective empathy through precise visual symbols (such as flying missiles and shattered windows).

Many of your previous works have focused on the dignity and inner spirit of ordinary people. In your war-themed paintings, how do you differ in depicting civilians, soldiers or leaders? How do you avoid glorifying suffering while maintaining a visual sense of bitterness?

The most significant difference between people in peacetime and those in wartime is the change in their environment and living conditions, which leaves them feeling helpless and powerless. When sudden natural disasters or human-made calamities strike, people's inner and spiritual states can undergo drastic changes, which can be fatal. As artists, observing, empathizing with, and portraying these changes is not only a professional requirement but also a moral duty. Additionally, in terms of expression methods and painting techniques, subtle adjustments are made, such as emphasizing certain aspects of the picture.

The creation of war art is always intertwined with moral dilemmas. When artists depict the scars of war, they must maintain a sense of reverence for historical truth while avoiding the trap of deliberate emotional manipulation. I neither exaggerate the intensity of 'pain' nor downplay its severity, and I do not alter the reality of 'pain' to cater to a specific audience. My creative approach aligns with Susan Sontag's assertion in "Regarding the Pain of Others" that' art must bear moral responsibility. 'When artists approach war themes from a female perspective, this moral awareness becomes particularly evident. Elizabeth Butler, when depicting military subjects, emphasizes:' I have never depicted the glory of war, but rather the sorrow and heroism.' Through her delicate brushstrokes, she weaves the individual fates and collective memories of war into an emotional tapestry, evoking resonance among viewers.

The art of war presents a unique visual language. Artists use elements such as color and composition to create multidimensional narrative spaces. Picasso's' Guernica 'employs Cubist deconstruction techniques to weave images like the bull and broken sword into a metaphor for war. This approach resonates with contemporary artists' emphasis on a 'popular perspective.' This creative strategy allows war art to transcend the traditional hero narrative, making viewers feel the cruelty of war in familiar everyday scenes.

The ultimate value of war art lies in awakening humanity's awareness of peace. This artistic power is not only found on the canvas but also in the collective memory it evokes. When artists adhere to the principle of' true representation' in their creations, they are preserving a precious cultural legacy for future generations. As the history of war art shows, from the goddess of victory in ancient Greece to the dove of peace in modern times, art has always sought a shared spiritual home for humanity. In this sense, war art is not only a record of the past but also a promise to the future.

You have mentioned the influence of Christian values on your work, especially compassion, justice and the warmth of humanity. How do these spiritual and ethical dimensions manifest, challenge or transform your depiction of war?

Christianity conveys its faith through religious themes and symbolic expressions, emphasizing the moral responsibility and sanctity of art. For instance, Michelangelo's' The Creation of Adam 'and Rembrandt's 'The Night Watch' both center on Christian spirit, blending religious narratives with human emotions to embody the core values of sacrifice, loyalty, and love. In my 100 works depicting Ukraine's resistance against the Russian war, Christian spirit serves as both a visual representation of faith and a practical domain for ethical and spiritual practice. Its evolution reflects humanity's ongoing exploration of the relationship between the sacred and the secular.

Christianity also faces ethical challenges in the expression of art. On one hand, the self-centered tendency of modern art can lead to formalism, diminishing the moral depth of art. On the other hand, in a globalized context, artists must balance traditional beliefs with innovative expressions across diverse cultures, such as by integrating contemporary cultural elements to achieve universal appeal. Christian ethics face tension between theory and practice when it comes to justice. For example, the theory of just war suggests that war can be justified under certain conditions. This theory acknowledges the necessity of violence while attempting to limit its misuse through moral frameworks. This contradiction reflects the dynamic balance between 'non-violence' and 'justice' in Christian ethics, particularly in modern warfare, where avoiding harm to civilians is a core ethical issue.

The influence of Christian values in practice not only shapes the moral foundation through compassion, justice, and the warmth of humanity but also reveals the complexities and challenges of ethics in war narratives. From the ideal of non-violence to the theory of just wars, from the supreme value of human nature to the practice of global justice, Christian ethics continually seek balance in the tension between history and reality, promoting a more just and peaceful society. This process not only reflects the internal tensions within religious beliefs but also highlights humanity's ongoing quest for answers in moral dilemmas.

In this age of AI-driven creation and digital saturation, your choice of hand-drawn media and obsession with storytelling almost feels counter-cultural. Do you see your "Ukraine" series as a slow art that resists both violence and the rush of technology?

I believe there are two main reasons for this. When digital technology first emerged, I tried several AI tool apps to create content. However, I found that the digital images were rigid and stiff, lacking the fluidity and rhythm of hand-drawn art. Sometimes, the algorithms would produce terrifying errors, such as characters with six fingers. The composition often lacked the natural light and visual comfort I was aiming for, and the tones in the artwork appeared artificial and lacked a genuine AI feel.

Although artificial intelligence painting uses algorithms to generate images and reduce the threshold of creation, its essence is a tool, which cannot replace human's deep perception of materials, techniques and emotions.

The "randomness" and "entertainment" of AI painting make it difficult to carry the complex emotions of war themes. My painting conveys the pain of war and the reflection on human nature through elements such as brushstrokes, colors, atmosphere and emotions.

The term 'slow art' is a new concept to me, and I find it very appealing. It embodies a sincere approach to art, which I strive for in my work. I don't want to be superficial; every stroke reflects my deep faith in the artwork. The rush to create art often lacks respect and sincerity, especially when it comes to making money, which I find particularly hard to accept. Hand-drawn art is a process of continuous refinement and truth-seeking, achieved through time and effort, and I find great joy in this. This' slow art 'is a unique way for traditional painting to achieve' empathy 'through long-term observation and emotional depth. By incorporating the artist's subjective judgment and moral responsibility, traditional art ensures the critical nature of its works, maintaining ethical standards in the age of technology. This 'slow art' not only aligns with humanistic values but also resists technological dominance.

Hand-drawn is because I like the process more, and the picture effect often exceeds my expectations, and surprises will appear! This is not what AI can achieve. I also do not want to be anti-cultural or anti-wind and anti-intellectual to denigrate it, but allow and gladly accept the existence of enjoying and using it.

Adhering to traditional painting methods does not mean rejecting modern technology or opposing AI; rather, it represents a complementary development. It emphasizes that AI can serve as an auxiliary tool, but it must be integrated with traditional techniques. This 'human-machine collaboration' model preserves the essence of traditional art while expanding its creative boundaries. In works reflecting the Ukrainian conflict, the commitment to traditional painting is not anti-cultural but a resistance against technological violence and cultural nihilism. It embodies 'slow art,' safeguarding human emotions, memories, and ethical standards.

The narrative battle between Ukraine and Russia is not only military, but also mythological, a struggle over symbols, language, and cultural memory. How do you visually represent these disputed histories? What metaphors or cultural references do you use to suggest this invisible narrative battle?

The conflict between Ukraine and Russia is not only a military confrontation but also deeply rooted in the contest of historical traditions, languages, and cultural memories. As an artist, one can portray these complex and contentious histories in their works, engage with them, and reflect the current war between the two countries through metaphorical artistic language or cultural references. I believe this can be achieved through the following methods:

First, to reflect historical traditions and differences; this can be achieved by depicting key historical events or figures, highlighting the intertwined yet distinct histories of Ukraine and Russia. Second, to incorporate linguistic elements: as a critical domain of conflict, language can be integrated into works through artistic symbols or text, such as Ukrainian or Russian inscriptions in paintings, including poetic fragments or historical slogans, to emphasize the symbolic significance of language. Third, to present cultural memory: cultural symbols and traditions serve as effective vehicles for expressing the connections and differences between the two countries. By using traditional Ukrainian attire (such as the embroidered shirt "вышиванка") or traditional Russian architecture (such as onion-domed churches), the unique cultural identities of each country are highlighted. Through these symbols, artists can evoke a resonance with the audience's cultural memories and reveal the underlying conflicts.

In short, artists can depict historical events, cultural symbols and language elements, combined with metaphors and cultural references, not only to show the complex historical entanglements between Ukraine and Russia, but also to reflect the current war reality, while establishing a deep interaction with the audience.

Looking ahead, you envision a touring exhibition and hope to secure institutional support. If you were to curate the exhibition yourself, what kind of space or curatorial experience would you want the audience to enter? Do you prefer a chronological, thematic, immersive, or meditative presentation? Why?

As a visual artist, my works are not intended for personal enjoyment alone but to explore complex issues of international politics, economics, war and peace, and state and international relations through the language of art. These works are not only part of the international political landscape but also an objective reflection of the current realities of people's lives. Therefore, my series on Ukraine's resistance against Russian aggression is aimed at presenting to audiences worldwide, urging more people to pay attention to this absurd and shameful war. The only way to achieve this goal is by organizing touring exhibitions around the world.

A global touring exhibition is a grand and far-reaching project, but its realization requires substantial resources. Frankly, I am not yet capable of completing this project on my own, so I earnestly hope to receive funding and assistance from relevant organizations to realize the vision of this global tour.

Currently, I am creating 100 sketches, which marks the beginning of my overall creative project. Additionally, I plan to create 20 large oil paintings to further enrich the exhibition content. Through the use of sketching and oil painting, two distinct media, I aim to present and explore various themes and subjects. As planned, the exhibition will feature a total of 120 works, which requires a spacious venue to accommodate the exhibition space.

In my vision, the ideal route would be from Ukraine through Europe to the United States. This route would not only symbolize the geography of war's impact, but also maximize the attention of a global audience.

If the exhibition plan is realized one day, my speech will revolve around the themes of the series. I will categorize the works into thematic units, each unit offering a deep analysis of specific content while being closely intertwined with the overall theme of the exhibition. Through these works, I aim to reflect on the cruelty and absurdity of the war from an artist's perspective, as well as its irreparable damage to ordinary people, cities, and nations, ultimately advocating for peace and respect for life.