In the Beginning
Paintings and Films by Jia Duan
Opening Reception: Wednesday Dec 10th 7 – 9pm
https://duanopening.eventbrite.ca
Dec 10th 6:30 – 7:00pm Screening of Jia Duan’s short films
Dec 10th 8:30 – 9:00pm screening of Jia Duan’s short films
Art Salon 1: Sun Dec 14th 2-4pm
Comprehensive Expression of Art by Jia duan
Tickets $10: https://https://duansalon1.eventbrite.ca
Art Salon 2: Tue Dec 16th 7-9pm
Discussion on the Documentary Project by Jia Duan: Young Artists of Chinese Descent in B.C.
Tickets $10: https://duansalon2.eventbrite.ca
Exhibition: Dec 10 – 19, 2025
open daily 10am-5pm free admission
Address: Lipont Place, Room 218 (no elevator), 4211 No. 3 Road, Richmond, BC, V6X 2C3
Admission: Free
Lipont Gallery is honoured to present Vancouver-based artist Jia Duan’s comprehensive art exhibition, a profound journey spanning media, blending East and West. Jia Duan, an international artist who is a scholar, painter, animator, filmmaker, and writer, constructs for us a poetic, symbolic, and spiritually radiant art world through her unique perspective and outstanding artistic practice.
Jia Duan’s artistic career is a path of self-realization—”making painting flow, integrating it with music, and expressing the poetic realm.” From her early years teaching at the Beijing Film Academy, her 3D art film Lotus won numerous international awards and was permanently collected by the National Film Museum of China and the French Cinematheque, demonstrating her outstanding achievements in the fusion of time and space art. Lotus, using the lotus flower as a symbol, blends Chinese painting aesthetics with Western Impressionist music, a poetic symbolic expression about the rebirth of the soul. From the paper-cut animation Starry Dream to the Japanese-style The Story of the Red Candle and the Mermaid, and from the 3D Lotus to the documentary Diary for Swan Lake, each work is a successful innovative practice.
Jia Duan studied painting from a young age, growing up among art masters of different styles. After moving to Canada in 2015, she began a transformation and a return to herself in the tranquility of the forests and bays of North Vancouver. Jia Duan’s paintings emphasize a localized, spontaneous expression. From A Girl on the Seabus and My Ophelia Garden, to the Portrait of the Elf series, The Legend of Spring, and Gaia’s Morning. From figurative to variant to abstract, a clear exploration and transformation of her artistic language is evident. Culminating In the Beginning and Dance of Light, each work reflects her capture of inspiration and her wondrous understanding of the beauty of creation.
Jia Duan’s art, whether in film or painting, maintains a consistent inner spirit. During the pandemic, she began studying theology, which further illuminated and elevated her expression of life and art. Her art is characterized by aestheticism as its foundation, naturalism as its vocabulary, and a touch of mysticism shining through poetic symbolism, showcasing her relentless pursuit of a spiritual path that transcends the mundane.
In this exhibition, Jia Duan’s paintings and films will complement each other, providing viewers with the best way to comprehensively understand her artistic creation. We invite you to join us in this exhibition constructed by the veteran artist Jia Duan, exploring the theme “God is Good, and Creation is…” The Art World of “Beautiful!”
Artist Salon: In-Depth Dialogue and Exchange
To explore Jia Duan’s artistic philosophy and creative process more deeply, two special artist salon events will be held during the exhibition. We cordially invite everyone to participate and exchange ideas.
The first salon, “The Comprehensive Expression of Art,” will be held on Sunday, December 14, 2025, from 2:00 PM to 4:00 PM. Jia Duan will draw upon her rich experience spanning film, animation, and painting to elaborate on her ideal of “being a complete artist,” namely, how to integrate spatial art, temporal art, and the core of literary thought to achieve poetic expression. This is a rare opportunity for the audience to understand firsthand how artists achieve artistic expression through different media. Please register at https://duansalon1.eventbrite.ca. Tickets are CAD$10 per person (including refreshments and parking).
The second salon, introducing the project “A Documentary Portraying a Group of Young Chinese Painters in British Columbia,” will be held on Tuesday, December 16, 2025, from 7:00 PM to 9:00 PM, Jia Duan, a filmmaker, animator, and professor with twenty years of experience traveling between East and West, will explain the characteristics of documentaries, introduce her documentary concept for a portrait of Chinese artists, particularly the artistic journeys and works of young artists, and their current life situations. She will also discuss the feasibility of this project. All artists interested in this project are welcome to attend; we look forward to your participation and exchange. Merry Christmas!
Please register at https://duansalon2.eventbrite.ca. Tickets are CAD$10 per person (including refreshments and parking).
【起初】段佳绘画及影视艺术展
开幕：2025年12月10日星期三晚7:00 – 9:00时
https://duanopening.eventbrite.ca
开幕式当晚6:30pm放半个小时电影（几个艺术短片）
7:00画展开幕
8:00再放一场半小时艺术短片
9:00结束
展览日期：2025年12月10日至19日
展览时间：每天早10:00 – 晚5:00免费开放，或点此预约。
地址：Lipont Place, Rm218 (无电梯), 4211 No. 3 Road Richmond BC, www.lipontgallery.ca, 604-285-9975
艺术沙龙第一场：【艺术的综合性表达】主讲：段佳
2025年12月14日星期日下午2:00 – 4:00时
门票CAD$10 / 人 (包括茶点，停车)。请在 https://duansalon1.eventbrite.ca 注册。
段佳教授将结合她横跨电影、动画和绘画的丰富经验，阐述其“做一个完整的艺术之人”的理想，即如何将空间艺术、时间艺术与文学思想核心融为一体，实现诗意的表达。这是一个难得的机会，让观众们近距离理解艺术家如何通过不同媒介实现艺术表达。
艺术沙龙第二场：【“卑诗省华人年轻画家群像纪录片”策划】主讲：段佳
2025年12月16日星期二晚7:00 – 9:00时
门票CAD$10 / 人 (包括茶点，停车)。请在 https://duansalon2.eventbrite.ca 注册。
作为行走东西方世界二十年的资深电影人、动画艺术家和教授，段佳将讲解纪录片的特性，介绍她关于华人艺术家群像的纪录片构想，特别是年轻艺术家的艺术创作历程和作品，以及现在的生命状态，并和大家一起讨论这个项目的可实施性。欢迎凡是对这个项目感兴趣的艺术家同仁的到来，我们期待您的交流和参与。并祝大家圣诞快乐！
本次展览荣幸地呈现段佳教授的艺术综合展，这是一次横跨媒介、融汇东西、回归本源的深刻旅程。段佳，一位集学者、画家、动画艺术家、电影人和作家于一身的国际化艺术家，以其独特的视角和卓越的艺术实践，为我们构筑了一个诗性、象征、充满灵性光辉的艺术世界。
段佳的艺术生涯是一条“将绘画流动起来，与音乐融为一体，去表达诗的意境”自我实现之路。从早年在北京电影学院任教期间，其3D艺术电影《荷》荣获多项国际大奖并被中国国家电影博物馆和法国电影资料馆永久收藏，可见其在时间与空间艺术融合领域的杰出成就。《荷》以荷花为象征，融合中国绘画美学与西方印象派音乐，是关于灵魂浴火重生的诗性象征主义表达。从剪纸动画《星星梦》到日本画风格的《红蜡烛和人鱼的故事》、再从3D的《荷》到纪录片《天鹅湖笔记》每一部作品都是一次成功的创新实践。
段佳自幼学习绘画，生长在不同风格的艺术大师之间。2015年移居加拿大后，在北温哥华森林与海湾间的宁静中，她开始了一段生命的蜕变和自我的回归。段佳的绘画注重有感而发的在地性，从《Seabus (海上巴士) 上的少女》、《我的奥菲莉亚花园》，到《精灵的肖像》系列、《春天的传说》、《盖娅的早晨》，可以明显看到对于绘画语言的探索和蜕变过程，从具象到变异再到抽象，直至《In the Beginning起初》和《光的舞蹈》，无不体现出她的灵感捕捉及对“造物之美 的神奇感悟。
段佳的艺术无论是电影还是绘画其内在精神始终一脉相承。她在疫情期间开始研读神学，使其对人生和艺术的表达愈加明亮升华。她的艺术：唯美主义是底色，自然主义是语汇，在诗性的象征之中，闪耀着一抹神秘主义的光彩。展现了其不懈的超越世俗的灵性追求。
本次展览中，段佳的绘画和影片将相互呼应，为观众提供一个比较全面地了解其艺术创作的最佳形式。我们邀请您共同进入这个由资深艺术家段佳构建的、关于“God is Good, and Creation is Beautiful!” 的艺术世界。
Jia Duan – Artist Biography
I
Jia Duan is an internationally recognized scholar-artist: professor, painter, animator, filmmaker, and writer. During her 26 years as a professor at the Beijing Film Academy, her representative work, the 3D art film Lotus, won 10 major awards at international film festivals in China and was selected for various international film festivals, including the Olympia International Independent Film Festival (USA), the Alaska International Independent Film Festival (USA), the Stuttgart International Film Festival (Germany), the Belgian International Film Festival, and the Annecy International Animated Film Festival (France). Lotus was later permanently collected by the National Film Museum of China and the Cinémathèque Nationale de France.
Jia Duan is dedicated to the exchange and mutual learning between Eastern and Western cultures. Since 2006, she has traveled independently in the international art scene, giving lectures at top American universities such as the University of Southern California, the California Institute of the Arts, and the University of California, Berkeley; and at DreamWorks Studio, Lucasfilm Studio, Pixar Film Studio, the San Francisco Redwood Film Festival, the Stuttgart International Film Festival High-Tech Forum, the Moscow State Film Institute, the Moscow International Film Festival Forum, the Canadian National Film Board, and the Montreal International Film Festival.
In 2006, she collaborated with David G. Ehrlich, President of the International Department of the Animation Society International Film Artists (ASIFA), hosted the Wuhan International Animation Artists Salon Annual Celebration, Jia Duan serving as Secretary-General. They invited outstanding artists from the United States, Germany, the United Kingdom, Canada, South Korea, Japan, Iran, and other countries to gather with China’s top animation artists at East Lake of Wuhan University, attended by faculty and students from ten universities in Wuhan, China.
In 2008, as curator, she collaborated with Common-Ground in the United States to organize a nature conservation-themed exhibition at the Beijing Huantie Art Museum, featuring works by artists from 43 countries.
In 2008, she was invited to serve as a preliminary judge at the Seoul International Animation Film Festival in South Korea and as a final judge at the Zagreb International Animation Film Festival in Croatia.
In 2010, she was invited as Gest Pro to teach the course “History and Aesthetics of Chinese Animated Films” at Concordia University Film School in Montreal. Through animation as a comprehensive art form, she introduced classical Chinese literature, painting, and music aesthetics, as well as modern history.
From 2011 to 2019, as the department head, she founded the Animation Art Department of the School of Modern Creative Media at Beijing Film Academy (now Qingdao Film Academy). The teaching team she created and led achieved remarkable success, with five graduating classes winning a total of 100 awards in domestic and international competitions (such as in Germany, France, South Korea, and Canada).
II
Jia Duan was born into a scholarly family with a strong academic tradition. Her parents were both renowned scholars, artists, painters, stage designers, and university professors of the older generation in China. Jia Duan began learning painting at the age of 15, immersing herself in the diverse styles of master painters and multi-talented artists from a young age, receiving extensive artistic exposure. Between the ages of 21 and 24, her paintings Sunflowers in the Sunny Courtyard (gouache decorative style) and Vast World (woodcut print) were selected twice for the National Art Exhibition of China; The Bronze Age (oil painting) was selected for the Beijing Youth Art Exhibition.
From 1978 to 1982, she was among the first batch of university students after the Cultural Revolution, studying in the Fine Arts Department of the Beijing Film Academy. From 1983 to 1993, she worked as an animation director at China Central Television (CCTV). During this period, her paper-cut animation Starry Dream won second prize at the first China Animation Competition, and her hand-drawn animation The Story of Red Candle and Mermaid in the Japanese style won the CCTV Excellent Work Award, among others.
In 1993, she was invited back to the Beijing Film Academy to teach and conduct research. In 2000, she published Dream of the Butterfly, a collection of animated scripts in prose style. She began enrolling master’s students in 2001. In 2008, after several years of work, she published China’s first book on the subject: World History of Animated Film, and was recognized as an excellent textbook by the Ministry of Education of China.
From 2005-2015, after completing Lotus, she served as a screenwriter, director, producer, and one of the photographers, spending ten winters traveling to Swan Lake in Shandong, China, to film and produce the documentary Swan Lake Notes.
But painting has been an undercurrent for many years in Jia Duan’s career, flowing continuously.
Finally, in 2015, after immigrating to Canada as a distinguished artist, Duan Jia established her own studio and resumed her passionate painting (while she was still serving as the head of the BFA MCMC )
During Christmas 2018, she held her first solo exhibition at St. Andrew Church in North Vancouver.
In 2019, she resigned from all her jobs in China and settled in Canada. Since then, she has focused on painting, reading, and writing. It is a transformation of life, a return to self, and a new beginning.
段佳 – 艺术家简介
I
段佳是一个国际化的学者艺术家：教授、画家、动画艺术家、电影人、和作家。在担任北京电影学院教授的26年间，她的代表作品3D艺术电影《Lotus》2025年曾经获得10项中国国际大赛大奖，入选不同国家的国际电影节如：美国奥林匹亚国际独立电影节；美国阿拉斯加国际独立电影节；德国斯图加特国际电影节；和比利时国际电影节、法国昂西国际动画电影节等等。之后《荷》被中国国家电影博物馆和法国电影资料馆永久收藏。
段佳致力于东西方文化的交流与互鉴，从2006年起，段佳独行于世界艺坛，在美国最顶尖大学如：南加州大学、旧金山加州艺术学院、旧金山伯克利大学；和梦工厂电影Studio、卢卡斯电影Studio和卢卡斯山庄，皮克斯动画Studio，旧金山红杉树电影节、德国斯图加特国际电影节高科技论坛、俄罗斯莫斯科国家电影学院、莫斯科国际电影节论坛，加拿大国家电影局，蒙特利尔国际电影节等地做专场演讲等等。
2006年她和国际动画电影艺术家学会（ASIFA）国际部主席David.G.Ehrlich合作，担任秘书长，邀请美国、德国、英国、加拿大、韩国、日本、伊朗等的杰出艺术家，与中国最杰出的动画艺术家在武汉大学东湖湖畔欢聚一堂，举办了有武汉十所大学师生参加的“武汉国际动画艺术沙龙庆典”。
2008年她作为策展人，和美国 Common-ground合作在北京环铁美术馆举办了有43个国家艺术家作品参加的自然保护主题展。
2008年她应邀担任韩国首尔国际动画电影节初审，和克罗地亚萨格勒布国际动画电影节终审评委。
2010年她应邀作为Gest Pro.在蒙特利尔Concordia大学电影学院教授“中国动画电影的历史和美学”课程，通过动画作为综合艺术形式，介绍中国的古典文学、绘画和音乐美学，以及近代史。
2011-2019，她作为系主任，创建了北京电影学院现代创意媒体学院（现青岛电影学院）动画艺术系，她创建并带领的教学团队成就卓著，五届毕业生作品共获得国内外相关大赛100个奖次（如德国、法国、韩国和加拿大）硕果累累。
II
段佳，出生于书香世家，家学渊源。她的父母都是中国老一代知名学者型艺术家、画家、舞台艺术设计家和大学教授。段佳15岁起学习绘画，自幼穿行于不同风格的绘画大家和综合艺术家之间，饱受多方面艺术熏陶。21岁-24岁，她创作的绘画作品《向阳院里向阳花》（水粉画装饰风格）和《广阔天地》（木刻版画）二次入选中国全国美展；《青铜时代》（油画）入选北京青年画展。
1978-1982，她作为中国文革后的第一批大学生，就读于北京电影学院美术系。1983-1993年她在中国中央电视台担任动画导演，期间剪纸动画作品《星星梦》获得首届中国动画大赛二等奖，日本画风的手绘动画《红蜡烛人鱼的故事》获得中央电视台优秀作品奖等等。
1993年，她应邀回到北京电影学院做教学和研究。2000年出版散文体的童话.剧作《梦蝶集》。2001年开始招收硕士生. 她编著的中国第一部《世界动画电影史》历经数年之久于2008年出版，被评为中国政府教育部优秀教材。
2005-2015年，在完成《荷》的创作之后，作为制片人、编剧、导演、摄影师之一，她用了十年冬天时间赴山东天鹅湖拍摄制作纪录片《天鹅湖笔记》—–
很多年来，在段佳的职业生涯中，绘画就像一条生命的暗河，接续流淌着。2015年，段佳以杰出艺术家身份移居加拿大后，建立了自己的工作室，重新开始倾心绘画创作（期间仍兼任北京电影学院MCMC的系主任之职）
2018年的圣诞期间，她举办了第一个个人画展在北温哥华St, Andrew Church。 2019年她辞去在中国的所有工作，定居加拿大。从此专注于绘画、读书和写作。是生命的蜕变，自我的回归，也是一个新的开始——
Jia Duan – Artist Statement
Perhaps related to my family environment, I studied painting for many years, and ultimately chose the Beijing Film Academy for university, solely because of a desire for a comprehensive artistic experience. In my early essay, “A Stroll Through the Clouds” (now published), I expressed my ideal of “becoming a complete artist”: an artist should understand and be able to paint (a spatial art that affects human vision), understand and be able to compose music (a temporal art that affects human hearing); and further, to the art of integrating sight and sound, space and time. Literature is the core of thought, while poetry is the soul of art. The reason I was able to persevere in the field of animation film is because my personal compass is: “to bring painting to life, to integrate it with music, and to express the poetic imagery.”
Although I have devoted most of my life to teaching students, researching for my profession, and engaging in international exchange as a responsibility or mission, art is inherently individual. Looking back on my artistic journey, I can see a clear path of self-realization achieved through different artistic means. Everyone is unique.
My early aestheticism, perhaps stemming from Thomas Moore’s Enjoying Everyday Life (translated into Chinese), led to naturalism, with his quote, “A river is a hymn—”, followed by a clear feminist awakening. Poetic symbolism and an interest in mysticism have subconsciously extended throughout.
Filmmaking is a complex process, requiring specific external conditions. I write, direct, and manage all my films myself, each a new experiment, never repeating the same approach. For example, Starry Dream is a children’s stream-of-consciousness poetic short film, experimentally using collage and a 16mm camera; The Story of the Red Candle and the Mermaid, adapted from a Japanese myth about furniture making, is a two-dimensional hand-drawn narrative poem in a classical Japanese style. After this work, I left CCTV.
Lotus is a completely personal expression, yet its themes are universal. As China’s first fully digitally produced pure art film, it won numerous awards. Its unique creative concept originates from my years of research into the history and aesthetics of world art animation. Lotus is a poetic symbolist work that blends the aesthetics of Chinese painting with Western Impressionist music. Without figures or dialogue, it uses the lotus flower as a symbol to tell a story of a soul’s rebirth through fire. I also composed the music myself. I was responsible for the entire film, from screenwriting and directing to art direction, music, and even production. It was an honour to be produced by the Shanghai Animation Film Studio and supported by the China Film Group and the Beijing Film Academy.
The documentary Swan Lake Notes is a true story of a struggle for beauty, primarily filmed on location and combined with printmaking animation. I spent ten years making this documentary; besides being the screenwriter, director, and producer, I was also one of the cinematographers.
Painting is a free, independent, and purely personal expression, an unfulfilled long-cherished wish of mine, like an unbroken, intermittent, inseparable river. Until one day, I left the workplace and came to Canada, finally able to return to my roots, immersing myself in the tranquility of pure painting and in the company of nature. Focusing unburdened on reading, painting, and writing, and sometimes playing the piano, is a kind of happiness in life.
My painting emphasizes a sense of place and inspiration derived from my surroundings; that is, inspiration drawn from my environment. Therefore, I chose to live in North Vancouver, nestled between forests and the bay.
The catalog contains works created after I arrived in Canada in 2016. It begins with quick sketches I made with a pen while gazing at the enormous pine trees outside my window upon arrival and continues with a few blooming flowers picked from her garden by an elderly woman by the roadside, which inspired me to buy watercolours and gather my art supplies.
To get from North Vancouver to Downtown across the bay, I took a ferry. Enjoying the scenery on the Seabus is a part of life, and this led to “Girl on the Seabus.” The VanDusen Botanical Garden in Vancouver is also a favourite of mine; every year, I visit that beautiful garden and its ponds to see my beloved plants. Thus came “My Ophelia Garden,” “Autumn Colours in the Botanical Garden,” and “Red Reflections”—”a river is a hymn.” Every evening, on my walks, I was always amazed by the various exotic flowers and plants in the gardens, blooming in succession from early spring to late summer, a vibrant and ever-changing spectacle! I even imagined studying botany like Mikhail M. Prishvin. This led to “By the Roadside,” “Spring in North Vancouver,” “Butterflies in a Bottle,” and “Waves.” Until autumn’s vibrant colours faded, a breathtaking display of autumn reds unfolded—this is the Canada I live in, where “praise” of nature became the central theme.
During the 2020 pandemic, I began studying theology at Trinity Western University. Since then, I have been even more awestruck by the wondrous beauty of creation! My mother once said, “Mountains have their souls, trees have their souls, and flowers have their souls.” I prefer to believe that the passing of the elven era in Song of the Sea [1] is real, which is different from polytheistic worship. Theological mysticism emphasizes contemplation, that is, the communion between the spiritual and the cosmos. “Then the morning stars sang together” [2] Plant life possesses a spirit, and it’s not surprising that the desire for harmony between humanity and nature extends to plants. Next came a series of paintings, Portraits of Elves and Merger, followed by The Legend of Spring and Gaia’s Morning, the two paintings I spent the longest time on and could never finish. The creator is spirit, and matter is a spiritual creation. Even seemingly “feminist” expressions have a “logic” to follow.
Only Ukraine on February 24, 2022 reflects the sudden pain of war.
Finally, In the Beginning is the first sentence of both the English and Chinese Bibles, followed by “God said, ‘Let there be light,’ and there was light,” and Dance of Light, which falls on the “creationism” and is also the path I’m moving towards. Regardless of the world’s state or life’s circumstances, “God is Good, and Creation is Beautiful!” is my unwavering belief. I believe that only through the transcendence of the soul can an artist possess a joyful and praising heart.
As seen above, from Lotus to In the Beginning, the spirit I express through painting and film is remarkably consistent. Aestheticism is the underlying tone, naturalism is the vocabulary, feminism is the essence, and within poetic symbolism lies a touch of mysticism—this should be the overall characteristic of my art.
This catalogue was created for my comprehensive art exhibition at Lipont Gallery in Vancouver. It’s also the first time my paintings and films have resonated within the same environment, making it the most suitable exhibition format for me.
Thank you to Lipont Gallery for their support and cooperation, thank you to the designer who worked so hard on the catalog, and thank you to all the friends I’ve made in Vancouver.
Note:
[1] A highly influential Irish animated film
[2] Job 38:7 in the Old Testament of the Bible
In Greek and Hebrew, “Sky is ‘he’; Land is ‘she'”.
段佳 – 艺术家陈述
或许与我所生长的家庭环境有关，学了很多年的绘画，上大学的时候我最终选择了北京电影学院，只因一个艺术综合性的念头。早年我曾经有一篇散文《风云漫步》（已出版），其中表述了我“做一个完整的艺术之人”的理想：即一个艺术家应该即懂绘画并能够绘画（作用于人的视觉的空间艺术）、懂音乐并能够做音乐（作用于人的听觉的时间艺术）；再到视听连觉、空间与时间融合一体的艺术，文学是思想的核心，而诗则是艺术的灵魂。我之所以能够在动画电影的职业领域坚持到最后，亦因我的个人坐标在于：“将绘画流动起来，与音乐融为一体，去表达诗的意境。”
尽管我的大半生投入在教学为学生、研究为专业、国际交流为责任或称使命的时间太多。但艺术却是个体性的。我自己的艺术之路走到今天，再回首的时候，则可以看到一条清晰且通过不同艺术手段的自我实现之路。每个人都是独特的。
我早年的唯美主义，或由托马斯·穆尔Thomas Moore的中译本《享受每日生活》走到自然主义，他说：“一条河就是一首赞歌—–”，之后是清晰的女性主义觉醒，而诗性的象征主义，以及对神秘主义的兴趣一直在潜意识中延伸。
做电影是一个很复杂的过程，外部条件是必须的。本人的影视作品都是我自己做编剧和导演，再到制作方法，每一部都是一次新的实践，绝不重复。如：《星星梦》是一部儿童意识流式的诗意短片，试验性的采用剪贴材料和16毫米摄影机；《红蜡烛和人鱼的故事》改编自日本作家具寓意的神话传说，是一部二维手绘日本古典画风的叙事诗。这部作品之后我离开了央视CCTV。
《荷》是完全个人化的表达，但主题具有普世性。作为中国第一部全数字制作的纯艺术电影，获了很多奖。其独特的创作理念，源自于我多年对世界艺术动画历史和美学的研究。《荷》是一个诗性的象征主义作品，将中国绘画的美学与西方印象派音乐融合一体。没有人物也没有语言，以荷花作为象征，表述了一个灵魂浴火重生的故事，音乐也是我自己做的编曲。整部影片从编剧、导演、美术、音乐，甚至制片全部由我自己担任。由上海美术电影制片厂出品，得到中国电影集团和北京电影学院的支持，是我的荣幸。
纪录片《天鹅湖笔记》则是一个为美丽而战的真实故事，以实地拍摄为主，与版画动画结合。这部纪录片我拍了十年，除了编剧、导演和制片，我自己也是摄影之一。
绘画，是自由的，独立的，纯个人化的表达，是我尚未完成的夙愿，曾像一条暗河，断续不迭，难离难弃。直到有一天，我离开了职场，来到加拿大，终于可以回归本初，沉浸在纯绘画的宁静之中与大自然相伴。心无挂碍的专注于读书、绘画、写作，也有弹琴的时候，是一种生活着的幸福。
我的绘画注重有感而发的在地性，即置身于所处环境中得到的灵感，因此我择居在森林与海湾之间的北温哥华。
这本画册所收录的是我来到加拿大2016年以后的作品，从刚刚落地，望着窗外巨大松树用签字笔画的速写，到路边一位老妪，从她的花园里摘下来送给我的几支盛开的花，才买了水彩，再备齐了画具。
从北温哥华过海湾去Downtown要乘坐渡轮，在Seabus上享尽风光是生活的过程，于是就有了《Seabus上的少女》；西温哥华的范度森植物园也是我所沉迷的最爱，每年，我都会到那座美丽的花园和池水间去看望我的精灵们。于是就有了《我的奥菲莉亚花园》以及《植物园的秋色》和《红色的倒影》“一条河就是一首赞歌”；每天傍晚，在我散步的路上，各家花园里各样的奇花异草，从初春到夏末，此起彼伏、缤纷不迭的交替开放，总是令我惊叹！我甚至想像普里什文（Mikhail M.Prishvin）那样学植物学。于是就有了《路边》、《北温哥华的春天》、《瓶中的蝴蝶》和《波浪》。直到秋天繁华落尽，便开始了满眼的秋红，这就是我眼中所居住的加拿大，对大自然的“赞美”成了主题。
2020年疫情期间，我开始在西三一大学研读神学。至此我更加为造物的神奇之美赞叹不已！母亲曾说:“山有山的灵魂，树有树的灵魂，花有花的灵魂”。我情愿相信《海洋之歌》「1」中精灵时代的逝去是真实的，这与多神教的崇拜是两回事。神学中的神秘主义强调默观，即灵性与宇宙的相通。“那時，晨星一同歌唱”「2」植物的生命是有灵性的，人与自然融合的渴望，延伸至到植物已不算稀奇。接下是一组《精灵的肖像》和《融合》，再到《春天的传说》、《盖娅的早晨》是我画得时间最长总也画不完的二幅画。创造之神是灵，物质是属灵的被造。看似“女性主义”的表达，亦有“逻辑”可循。
只有《2022年2月24日的乌克兰》是突发的战争之痛。
最后，《In the Beginning起初》是中英文圣经中的第一句，继而“神说有光，就有了光”以及《光的舞蹈》就落在了“创造论”上，也是我行进着的前方。
无论世界如何，人生如何，“God is Good, and Creation is Beautiful!”在我是毋庸置疑的。艺术家只有灵魂的超越，才会有喜乐赞美的心，本人认为。
综上所见，从《荷》到《起初》，本人通过绘画所表达的与电影所表达的精神竟一脉相承。唯美主义是底色、自然主义是语汇、女性主义是骨血，在诗性的象征中尚有一抹神秘主义的光彩，应该就是本人艺术之总体特色了吧。
这本画册，是为本人在温哥华立邦美术馆的艺术综合展而做，也是本人第一次即我的绘画和影片在同一个环境中相互呼应，应该是最适合我的展览形式了。
感谢力邦美术馆的支持与配合，感谢为本画册而辛苦的设计师，也谢谢所有我在温哥华所结交的朋友。
注：「1」爱尔兰超有影响力的动画电影
「2」圣经旧约《约伯记》38章7节
在希腊文和希伯来文中“Sky is‘he’；Land is‘she’”，
