“Kung fu (Chinese martial arts) had become a trope of Chinese culture and many Asian ethnic people already identify it as a typical genre since the early 20th century. My most effective interaction with martial arts as a kid was watching the films excitedly with mouth open and gasping at protagonists’ stunning kicks. I attempt to interrogate the connection between martial arts tradition and its modern adaptations seeking to expose the intricate history and the drive of my own engagement through digital artifice. The subject, intimately bonded to Chinese tradition influenced me as a mainlander, who was overwhelmingly influenced by Hong Kong martial arts films from the ‘90s. There are emotions and sensations bestowed and they motivated me to create a nostalgic flashback to the choreography in the way as martial arts heroes ever impressed an innocent mind.
Dichotomy of 陰陽 yin-yang drives to practice of 文武 wen-wu (cultural attainment and martial arts valour), in which the concept of good and evil inherited from Confucian moralization is ideologically immersed within the context of martial arts. That intrigues me combining cinematic dynamism with monochromatic drawings to follow the soul of Kung Fu, as Bruce Lee stated, “the art of detachment” and “oneness of interdependent qi.”