魏晋著名的诗人陶渊明在他所写的《桃花源记》描述了一个远离战乱和压迫的理想社会，这里的人们享受着和平与自由的生活。文章通过对桃花源安宁和乐、自由平等的描绘，展现桃花源内的人们对美好的生活的追求，注重个人内修，不被外界干扰得以实现内心的平静与安宁，同时也表达着作者在理想幻灭之后的逃避与遁世。

后世有许多对“桃花源”不同的解读阐释。有说渔夫其实是误入了另一个世界，桃花源里生活的人在时间线上停滞不前，就像是被困在永恒的时刻里。这种说法像是中国文学史上最早的一个对平行世界的描述。船夫无意中闯入的桃花林，极有可能是一个平行宇宙的入口。“不知有汉，无论魏晋”。清华大学副校长施一公教授曾经在一次演讲中说道：“空间是存在的，时间是根本不存在的，是人的一种错觉。物质始终处在一种运动状态中。人们的错觉把这种运动状态称之为“时间”。”

如果，时间真的并不存在呢？是不是所有线性的一切都是虚妄？生老病死，盛极而衰，花开花落，昨日今天明朝也不复存在。这种不存在感，是不是会颠覆一切关于文明的认知？ 而《桃花源记》里“山有小口，仿佛若有光。”这种描述更像是宇宙空间的虫洞，“洞极狭才通人，复行数十步，豁然开朗。” 这像是陶渊明在暗示我们从三维空间向四维五维空间进发的路径。沿着这条路径关于时间空间的想象，我创作了这一系列桃粉色的关于桃花源入口的综合材料绘画作品。这系列作品以浓烈的桃花粉红为主色调，似乎像是基于中国传统山水的意向而绘，又似乎此景并不来自人间。 这是一个我对桃花源平行宇宙空间入口的畅想，是我的多啦 a 梦时空门，也是一个乌托邦想象。这里的山或许不是山，是曲线，是分形几何，这里的水也不一定是水，是俄罗斯数学家沃罗诺伊的空间思想，是晶体，是水分子结构，是氧与氢，是芥子里或许藏着的须弥。它们似乎是层层叠叠的流水，似是植物，似是云烟，抽象且诗意，温柔，缱绻，旖旎，迷幻。但与传统“山水”概念相同的是我追寻的“道法”，天道、人道、世界观、梦想、信仰、归属感等诸多。

柏拉图在《理想国》里说，人的困惑有两种原因，不是因为走出光明，就是因为走进光明，眼睛和心灵都是如此。拿起画笔，我总不自觉就会在画面里留小小的童话世界给自己，一个片诗意的山水，一个桃花源，一个理想国，想献给自己一路所见的美好风景，爱与被爱，献给那些随风而逝的不解和愤怒，献给生命中不可抵

挡的黑暗与孤独。

The Three-Body Problem opens with a hypothesis: "Does physics not exist?" Triggered panic suicides among scientists. But what if math doesn't exist? All our materialist systems of scientific knowledge are built on the basis of mathematics, the laws of the universe. 

In January and February of 2023, during the rainy season, the glass door of my studio in Xiamen suddenly burst. Because it is tempered glass, it presents a stunning interrelationship of broken beauty, very futuristic. I observe its broken texture, a neural network that diffuses around in a cardinal point, a regular line connection between crystal fragments and a pattern that has been accidentally planned by some mysterious hand. It reminds me of the Voronoi space segmentation algorithm developed by Russian mathematician Georgy Fedoseevich Voronoi. He was inspired by Descartes' idea of dividing space by convex domains. It is widely used in many fields such as geometry, biology, crystallography, architecture, geography, meteorology, information systems and so on. 

Voronoi figures come from the natural sculpture structure, and its repeated orderly arrangement appears to be a mystery under the natural order. From the microscopic cells in the skin of an onion to the shell of a jackfruit and the fur of a giraffe. These patterns are almost everywhere and form effective shapes. 

Assuming that there are n points scattered on a plane, the Voronoi diagram for these points subdivides the plane into exactly n cells that encompass the portion of the plane closest to each point. This will result in a Mosaic that completely covers the plane. I plotted 100 or more random points and their corresponding Voronoi plots. Each point is contained in an "pixel" whose boundaries are exactly equidistant between two or more points. In other words, all the regions contained in the cell are closest to the point in the cell and not to any other point. 

The Voronoi diagram completely subdivides the plane, so that all Spaces are used. Imagine squeezing as much as possible in a limited space, such as in muscle fibers or beehives. A Voronoi diagram is a spontaneous pattern where something grows at a uniform rate every time from different points. This explains why giraffes have this pattern in their stripes, dragonflies have this pattern in their wings, and jackfruit have this pattern in their skin. 

The Chinese porcelain, the best crystallization of the wisdom of nature and human beings, also shows voroni graphic aesthetic characteristics in the process of firing due to the different expansion coefficients of the enamel matrix. 

So I began to build my Voronoi world in a purely handmade, slow-motion way, a strange pattern that seems to be an abstract pattern presenting an optical illusion. I used the computer to generate random points to build Voronoi figures, landscapes, mountains and rivers and other graphics. I then color each cell based on the distance between the point in each cell and the randomly selected point in the box. It is an endless structural pattern. Some techniques of traditional Chinese southern Fujian lacquer line carving and wire enamel also help me to complete these series of works, so that they can have a unique presentation. During this period, I also used the Mosaic technique of German mathematician Dirichlet to make the crystals of copper sulfate chemical materials and special materials themselves continue to grow in the picture, maintaining a mysterious life force. In addition to carbon-based life, there are many other life forms that have been struggling to grow.  

架上绘画分为四个部分（正在进行中）：

1- 粉山 Pink Mountain.

2- 蓝水 Blue molecule

3- 绿野虫洞 Green Field and wormhole

4- 时间之船 Ship Of Time

                                                                            粉山Pink Mountain