Chan’s practice is about exploring how the picture, painting and drawing process could capture the fluency, rapidness and quantity of dynamic images, and hence catch up and assemble the desire of seeing and memory.
Dynamic of gesture smoothens and extends seeing, it strikes into the eyes and summons the torrent of images in mind instantly, which brings an image more than an image. Sometimes it penetrates time at a moment, summoning next moment of the movement; and sometimes it penetrates the memory, connecting similar scenes together. Dynamic is a fluent extendibility for images which summons our desire to see across the present image. Furthermore, it is not only an extended desire, but also a symptom of desire itself for the rapidness and quantity of seeing in the image-flooding era.
For Chan, painting is an action responding to desire of seeing. He sometimes condenses painting’s content to extend the capacity of painting body and catch up the quantity of images; sometimes he disperses complexity into multiple paintings and drawings to improve fluency of painting process and catch up the freshness of desire.