The Spring Tide series takes vintage postcards as its creative foundation, employing the language of oil painting for visual reconstruction. It places the gestural quality of Eastern freehand brushwork in dialogue with the original traces of the images, constructing a visual system centered on time, memory, and painterliness.

Vintage postcards inherently bear distinct textures of time: aged paper, worn edges, faded colors, and postmarks together form their historical materiality. In my creation, these original traces are preserved rather than deliberately concealed, using the historical nature of the found images as the objective premise for the intervention of painterly language.

Rooted in the emotional expression of Expressionism, the works integrate characteristics of freehand ink painting, building visual tension through techniques such as dry brushwork, splash color, and impasto application. Through color contrasts and layered textures, subjective brushstrokes interweave, overlay, and reconstruct the original imagery, achieving a collision and coexistence of old and new traces.

The integration of painterly language with pre-existing images is not a passive representation of the passage of time, but an active reshaping of memory and the past. Within my creative narrative, the surging spring tide endures eternally—time and memory transform into a ceaselessly rushing visual force, and the spring tide knows no end.