The Heavenly Camp: A Baptism Beyond the Flood 《天堂的夏令营：洪水中的洗礼》
July 6, 2025, Yesterday, I spent the whole day following the news of the missing girls from the Texas flood, girls who had gone to summer camp and never returned. That night, I painted this image. In the painting, the girls are all together, mysteriously dressed in white — as if they had just been through a great baptism. The floodwaters surged around them, violent and unstoppable, yet something sacred seems to have happened. I believe they were received by angels, carried into a heavenly summer camp far better than anything on earth — a place of joy, light, and freedom. In that paradise, the girls can fly. The moon is nearly full. And between the clouds, one can almost see wings — are they angels? Or are they the girls' souls, dancing in the sky? This painting is a prayer for comfort — for the mothers, fathers, grandparents, and all who mourn. May the Lord draw near to you, and may the memory of your beloved daughters become a quiet light in your night.2025年7月6日 一整天，我都在追踪德州洪水中失踪女孩们的消息——那些原本去参加夏令营、却再也没能回来的孩子。到了晚上，我画下了这幅画。 画中，她们在一起，奇妙地都穿着洁白的衣裙。洪水汹涌泛滥，却仿佛成了她们经历的一次神圣洗礼。我深信，她们已经被天使接走，前往那超越世上一切美好的永恒夏令营——一个有光、有歌声、有自由的天上乐园，在那里，女孩们是会飞的。 天空中的月亮即将圆满，云层之间隐约浮现出翅膀的轮廓——那是天使的羽翼，还是这些女孩灵魂的飞翔？ 这幅画，是为安慰而画，是为留下来的父母、祖父母和每一位至亲所画。愿主亲自安慰你们，愿你们所爱的女孩成为你黑夜中一盏温柔的光。

“Poppies” | An Inner Journey through the Flower of Remembrance

The Deeper Symbolic Healing of "Blue Poppy"

The Promised Dawn晨光如约

Autumn Deer 秋林双鹿

The Red Ribbon Dance 《红绸之舞》
《红绸之舞：灵魂律动的觉醒》 In this vivid and dynamic painting, women in flowing white dresses leap through a landscape of swirling blues and greens. A bold red ribbon weaves through them—a thread of soul, guiding their movement and awakening a deeper rhythm within. From the lens of Jungian psychology, this image symbolizes the process of individuation—a journey through the unconscious toward wholeness. The dancers embody the Anima, the inner feminine, bringing intuition, emotional vitality, and spiritual freedom back into conscious life. The blue and green backdrop forms a symbolic container—a sacred inner space where the chaotic and the structured coexist, where movement becomes meaning. The red ribbon, like the symbol of active imagination in Jung’s Red Book, leads us into dialogue with the unconscious. The Red Ribbon Dance invites us not just to witness but to participate—to sense where our own inner dancer longs to move, to follow the ribbon where it pulls, and to remember: the soul always knows the steps, even when we forget the music. 在这幅充满生命力的作品中，几位身着白裙的女子腾跃于蓝绿天地之间，一条蜿蜒的红绸贯穿其间，如灵魂之索，引导她们进入一场自由之舞。这不是简单的视觉图像，而是一幅灵魂象征的地图。 荣格心理学认为，个体化的过程常伴随着对潜意识的探索与整合。画中跃动的舞者象征着被唤醒的“阿尼玛”（Anima），她们代表感性、直觉与灵性的回归。在红绸的引导下，这些灵魂碎片正汇聚为一个完整的自我。 蓝色象征精神，绿色象征疗愈与成长，它们构成了灵性空间的背景——一个允许舞动与混乱、释放与整合并存的内在容器。而红绸，则如荣格《红书》中的象征，引领我们进入主动想象的旅程。 《红绸之舞》邀请观者驻足、沉思、跃动，它不仅唤起感官的愉悦，也唤醒沉睡的灵魂记忆。在每一个舞者身上，我们都可以投射出那个渴望自由、渴望表达、渴望整合的自己。

Echoes from the Red Leather Suitcase 《红皮箱的回声》
Red Leather Suitcase / 心靈記憶容器 A Vessel of Soul Memory A red leather suitcase is more than a physical object—it is a trace of history, a vessel of emotional memory. Though long forgotten in a dusty corner, it remains like a memory of the soul, buried deep in the folds of time. This suitcase holds within it the legacy of love and regret. In Jungian psychology, such objects are seen as symbols, expressions of the complex interplay between the Self and the Shadow. They possess a prophetic quality—heralding the beginning of inner restoration. The red suitcase carries a silent inheritance: a memory, a family secret left unspoken yet deeply felt. But in this artwork, it becomes a legend reopened—a narrow path toward individuation and healing. The artist does not merely depict the object; instead, through hues of red, brown, and ochre, she continues to feel her way through kinship and loss. “To paint the Red Leather Suitcase is to prepare to catch oneself.” This is not mere nostalgia. It is a profound act of inner reckoning and renewal.

Sunflowers and Doves 向日葵和鸽子
Sunflowers and Doves《向日葵与鸽子》 A Prayer in Color | 色彩中的祈祷 This is not just a painting of nature — It is a prayer image rising from the soul. Sunflowers turn toward the light, And doves fly through the open sky of the heart. They speak of healing, inner peace, and the return of freedom. This is a vision of the soul’s homecoming — Guided not by fear, but by light. 这不仅是一幅自然的画， 它是灵魂升起的祈祷图像。 向日葵朝向光明开放， 鸽子在心灵的天空中展翅飞翔。 它们诉说着疗愈、平安与自由的回归。 这是一次灵魂的归途之旅—— 不是被恐惧驱动，而是被光引领。

Blooming in Impermanence《绽放于无常中》
这幅创作于疫情期间的作品，描绘了短暂盛开的花树，象征灵魂在危机中的开放与更新。花开的瞬间如人生的高光时刻，美丽却稍纵即逝。艺术家以粉红与深蓝交织，营造出一种生命与时间的心理张力。 在荣格心理学中，花是重生的原型，每一次盛放都指向个体化旅程中的转化与整合。画作提醒我们：越是无常之中，越需珍惜爱的当下与存在的真实。 Created during the pandemic, this painting captures the brief bloom of a flowering tree—symbolizing the soul’s openness and renewal in times of crisis. The interplay of pink and deep blue expresses the tension between beauty and impermanence. In Jungian psychology, blossoms represent the archetype of rebirth—each bloom a symbol of transformation on the path of individuation. The artwork invites us to cherish the fleeting moment and encounter the truth of love and being amid uncertainty.

Sunflowers in the Red Vase《红瓶中的向日葵》
At summer’s end, sunflowers bloom boldly from a red vase—a vessel of passion, strength, and containment. In Jungian terms, the vase holds the life force of the flowers, symbolizing the psyche’s capacity to carry vitality and transience. A meditation on beauty, resilience, and the soul’s journey toward wholeness. 在夏末的尽头，向日葵仍灿烂盛开，插入一只深红的瓶中。红瓶象征内在的“容器”——我们承载热情、生命力与转瞬即逝的美的心理空间。荣格心理学视角下，这幅画捕捉了个体化旅程中的光与影，象征我们如何在生命的流转中，学习守护内在的太阳。

Dance of the Unconscious 《潜意识之舞》
In this abstract work by Lin Lu, colors swirl like dreams, and thick brushstrokes carve a path into the deep terrain of the unconscious. Without a defined subject, the composition evokes the psyche’s movement between chaos and clarity—between shadow and light, anima and animus, fragmentation and integration. This painting does not seek to be “understood,” but to be felt. It mirrors the unspeakable—echoes of emotion, memory, longing—awakening the viewer’s own internal journey toward wholeness. As Jung reminds us, “Symbols are the bridge to the soul.” This work becomes that bridge—mysterious, open-ended, and deeply human. 色彩如梦，线条如流，厚重的笔触穿透表象，直指人心深处的潜意识世界。画面没有明确的主题，却以涡旋、碰撞、融合的节奏，隐喻着个体内在的心理转化旅程。这是光与影的对话，是内在女性与内在男性原型之间的舞蹈，更是每一个人心中无名情绪的回声。 这件作品并非要观者“理解”，而是邀请你去“感受”。它是一面镜子，映照出你潜意识中的梦、恐惧、渴望与自我整合的可能。面对它，就是在倾听内在自性温柔却坚定的召唤。 荣格说：“象征，是通往心灵的桥梁。”这幅画，正是那座桥。

The Heavens Declare: The Twilight Gate and the Light of the Soul 《诸天述说荣耀：黄昏之门与灵魂之光》
The Heavens Declare: The Twilight Gate and the Light of the Soul This painting is more than a serene landscape—it is a spiritual threshold, a visual liturgy where the sun sets in golden majesty, the water receives its reflection like a soul listening, and the hills stand as ancient witnesses. Inspired by Psalm 19, "The heavens declare the glory of God," this piece becomes an image of sacred silence, where creation speaks without words. From a Jungian perspective, the sunset is the Self shining through nature’s veil, calling us into reflection, awe, and inner transformation. The viewer is not merely observing, but entering a dialogue with something eternal—something both within and beyond. 《诸天述说荣耀：黄昏之门与灵魂之光》 在这幅宁静而辉煌的自然图景中，我们仿佛走进了一场灵魂的礼拜：太阳缓缓西沉，将天地染成金色；水面如镜，接收天上的荣耀；山峦默默伫立，像是古老的见证者。 这不是一幅风景画，而是人与造物主之间的视觉契约，是诗篇第19篇的画面注解。大自然以自身诉说神的荣耀，如同荣格所言：“象征是灵魂的语言。” 艺术家捕捉的，不是风景，而是灵魂在黄昏时分所经历的静默回应——那不属于任何宗教传统，却通向万有之源的通道。

“In the Same Boat” — A Portrait of Sibling Memory and Inner Unity《风雨同舟》
“In the Same Boat” Four siblings share a boat amid swirling waves—an image born from childhood memory and emotional reflection. Painted through the lens of healing, this work invites us to consider the strength of shared beginnings, even in life's storms. 《风雨同舟》 四位兄弟姐妹共处一舟，在波涛中前行。这幅作品源于童年的回忆与内心的凝视，是一次情感的回返，也象征着即使经历风雨，血脉相连的起点依然强韧。

Looking Back on 1963 My Family Portrait 《回望1963年：我的全家福》
Looking Back on 1963: My Family Portrait This painting is a tribute to the only family photo taken before the artist’s father passed away. Through expressive colors and abstract forms, the work recalls a once-whole family and honors the lasting bond between parents and children. A deeply personal memory transformed into art. 《回望1963年：我的全家福》 本画取材于1963年唯一一张全家福，在父亲离世前留下的珍贵影像。透过抽象的笔触与色彩，画家追忆曾经完整的家庭，表达对子女与父母之间深切不灭的情感纽带。这是一段私人的回忆，也是一份永恒的纪念。

沉默的妈妈背对着我 My Silent Mother Turned Away
沉默的妈妈背对着我 My Silent Mother Turned Away 母亲无声地背对着我，沉默中藏着太多说不出的痛。这幅画透过强烈的色彩与姿态，描绘代际间复杂而深沉的情感纽带。 A mother turned away in silence. This portrait reveals unspoken sorrow and the enduring impact of emotional distance between generations—told through bold colors and intimate form.

《李曼故居》 Leaman House
四个女人住在这个历史故居中，天天迎来送往，为主而活，服侍人。她们的生活像一首平静却坚定的诗篇，在岁月的房梁与窗棂间回响。这不仅是一个住处，更是一座属灵的灯塔，向旅人传递温暖与方向。 Four women live in this historic home. Each day they welcome and send off guests, living for the Lord and serving others. Their lives unfold like a quiet but resolute poem, echoing through the beams and windows of time. This house is more than a dwelling—it is a spiritual lighthouse, offering warmth and guidance to all who pass through.

Archetype of Autumn《秋之原型》

Light of the Homeland A Covenant Between Earth and Soul 《原乡之光：大地与灵魂的契约》

1968 A Child’s Red Memory 《1968：孩子的红色记忆》

The Wings of Your Soul： A Call Beneath Still Waters灵魂的双翼：静水中的呼唤

Union Beneath the Willow： A Symbolic Rite of the Self《垂柳之下：灵魂的联结仪式》

An Amish Field Under the Stars： A First Date《星夜阿米西：初见之约》

Memories Sealed in 1965 and 1968； 1965年和1968年关锁的记忆
“When Memory Returns, So Does the Self” Facing Childhood Through the Eyes of an Adult In adulthood, it wasn’t until much later that I began to truly face my childhood experiences. One particular detail gave me insight: I realized that I had spent most of my early years in full-time kindergarten boarding. I only went home on Saturday afternoons and returned to school again on Monday mornings. No wonder my emotional patterns have been marked by isolation, independence, and detachment. This realization also allowed me to see my parents in a new light—it was part of my journey toward individuation. • The Catalyst for Healing: Through remembering and re-examining childhood experiences, adults can reinterpret events they couldn’t fully understand at the time. They may come to see the motivations behind their parents’ behavior—such as their own trauma or limitations. This process helps release internalized negative self-beliefs and opens up new space for compassion, both toward oneself and one’s parents. • Reconstructing Memory: Adult reflection allows us to reconstruct childhood memories beyond the limited, one-dimensional perspective of the child. With adult insight and psychological maturity, we can reinterpret past events and discover symbolic meaning at the level of the collective unconscious. This process fosters a deeper integration of the self and a renewed sense of wholeness.

秋日香瓜：纯真的原型召唤 Autumn Melon A Call from the Innocent Archetype

Harvest of the Soul： Belonging in the Archetype of Autumn《灵魂的庄稼：秋日原型中的归属》

「The Blue Girl and the Spirit Horse」《藍裙少女Emma與靈馬之約》
「The Blue Girl and the Spirit Horse」《藍裙少女Emma與靈馬之約》 一個藍裙少女伸手觸碰一匹溫順的馬，馬常被視為靈性力量、無意識能量以及轉化的象征，而孩子則代表著「內在小孩」（inner child）——未被汙染的本真自我。 少女與馬之間的溫柔互動，她早期與生命本質的第一次接觸。藍色的裙子像夢一般包裹著她，代表了情感的流動與潛意識的深度。輕盈而自由的氛圍，喚起了我們對探索、信任與聯結的原始渴望。 如今，Emma 已步入職場，這幅畫如同一扇隱秘的門，「童年的原型圖像」不僅是回憶，更是心靈整合的鑰匙，引導我們在成人的世界中，重新找回那份未泯的純真與真實的力量。 童年的接觸 A Childhood Encounter This painting captures a seemingly simple yet deeply symbolic moment from childhood: a young girl in a flowing blue dress reaches out to a gentle horse. The horse represents the instinctual self, the life force, and the symbol of transformation, while the child embodies the “inner child”—the unspoiled essence of the self. Their tender interaction evokes an early encounter with the soul’s vitality, a sacred moment of wonder, trust, and connection. The soft blue hues echo the realm of the unconscious, inviting viewers to step into a space of emotional resonance and deep memory. Though Emma has now entered the adult world, this painting acts as a portal to the symbolic landscape of childhood, where the boundaries between human and animal dissolve and imagination reigns. In the journey of individuation, such archetypal images become guideposts—reminding us of who we were before the world told us who we should be. This piece is not just nostalgic; it is a soulful reunion with one's authentic self, where the spirit horse stands as both companion and mirror to the eternal child within.

“Backpacks Ascending: A Prayer for the Lost Children”《飞翔的书包：为逝去的孩子祈祷》
Backpacks Ascending: A Prayer for the Lost Children is a painting born from grief, outrage, and the silent plea of a collective soul. Inspired by the tragic events of May 12, 2008—when thousands of schoolchildren perished during the Wenchuan earthquake due to collapsed school buildings of poor construction—this work carries the unbearable contrast between innocence and injustice. The vibrant backpacks, rendered in bold reds, greens, and blues, are no longer on children’s shoulders. They float upward, weightless, as if released from the suffering of the earth. The colors remain vivid—untouched by dust or death—evoking the unbearable beauty of what is left behind. These backpacks, ordinary objects of daily life, are now symbolic vessels of spirit—what Jung would call autonomous symbols, emerging from the collective unconscious to carry unbearable truth. From a Jungian perspective, the painting functions as a ritual image of psychic integration. It transforms trauma into meaning, giving voice to the unspeakable. The ascending backpacks mirror the archetypal image of the soul’s flight, invoking the idea that the innocent, though lost to the physical world, return to the Self, the divine source. Their upward movement becomes a prayer—an imaginal act of redemption—where human pain meets transcendent hope. Below, the indistinct figures of grieving parents remain grounded, calling out from the shattered earth. The vertical tension between the ascending and the mourning reflects the archetypal split between matter and spirit, body and soul, and the psychological process of mourning: the need to let go, and the inability to do so. This work does not offer comfort. It holds space for grief, and honors the memory of children whose dreams were buried, but not erased. Their backpacks—bright, small, and symbolically intact—fly upward as if asking: Will you remember us? Will you tell the truth? Through abstraction and symbolism, the artist bears witness. The painting becomes a psychic altar—a bridge between trauma and transformation, between what was lost and what must not be forgotten. ________________________________________ 《飞翔的书包：为逝去的孩子祈祷》 或 《颜色仍在，灵魂升起》 《飞翔的书包：为逝去的孩子祈祷》 这幅画诞生于悲痛与愤怒之间，也源自一个灵魂的默祷。2008年5月12日，中国四川汶川发生大地震，数千名小学生因“豆腐渣工程”造成的校舍倒塌而遇难。他们的身体被压在废墟下，而色彩鲜艳的书包却散落在瓦砾间，成为令人心碎的对比。 画中，一只只书包在天空中飞升，脱离了尘世的重压，象征着无辜的灵魂向着上帝归回。这些红色、绿色、蓝色的书包，原是孩童日常生活中最普通的物品，在灾难面前却成了灵魂的象征容器。如荣格所言，它们超越了具体物象，成为从集体无意识中升起的自主象征，承载人类面对巨大悲剧时的精神挣扎与诉求。 这幅画在心理层面上是一个创伤转化的象征仪式。飞升的书包，不只是艺术的想象，而是对死亡和天国的回应。它们不再属于人间，而是作为灵性之旅的标志，在画布上完成一种象征性的“升天”。那是一种告别，也是一种祈祷：愿这些灵魂被接纳，不再孤单。 画面下方，是模糊但哀伤的人影，象征着仍在地面痛哭的父母。他们与上升的书包之间的张力，表现出人类灵魂在“肉体与灵性、生与死”之间的撕裂与拉伸。 这幅画不是为安慰而画，而是为记忆和哀悼而作。它让我们不忘那些失去声音的孩子，他们的书包如图腾般升起，对这个世界提出一个无声而沉重的问题：“你还记得我们吗？你愿意为真相作证吗？” 通过抽象的表现与象征性的图像，这幅画成为一个心理的祭坛，一个让创伤有空间被看见、被铭记，也逐渐走向转化的所在。 《飞翔的书包：为逝去的孩子祈祷》 2008年四川汶川地震中，无数孩子在校舍倒塌中失去生命，色彩鲜亮的书包却散落在瓦砾间。画中，这些书包腾空而起，象征他们无辜的灵魂归向天国。下方的哭泣人影代表地上的父母。这幅画如一座静默的祭坛，在哀伤与升腾之间，发出对记忆与公义的召唤。 「你还记得我们吗？」 “Will you remember us?”

“My Childhood: Dad’s Fish Tank and Iron Bars, Mom’s Back” 我的童年：爸爸的金鱼缸和铁窗，妈妈的背影
"Father’s Fish Tank and Iron Bars, Mother’s Back, My Childhood" *An Introduction* This oil painting is a deeply personal and emotional piece that weaves together layers of memory, loss, and longing from the artist Lin Lu’s childhood. The composition is a collage of interwoven scenes that evoke familial warmth, unspoken grief, and a profound sense of absence. In the upper left, we see a memory from Lin Lu’s early years: at age three, hospitalized with scarlet fever, her mother kept vigil by her bedside while her older siblings walked to visit her—bringing a bottle of goldfish as a gift. At the center of the painting, her father is shown behind iron bars, symbolizing the suffering he endured before his death. The large goldfish tank in their home, once a symbol of tenderness, now reflects the fragility of life and the emotional legacy passed through generations. In the lower left, the mother sits quietly beside an old red leather suitcase, her posture heavy with grief. This suitcase appears throughout Lin Lu’s work as a vessel of sorrow and remembrance, particularly after her father’s untimely death. To the lower right, a full moon hangs outside a large window. A five-year-old girl—“me”—stands at the window, her shadow cast long across the floor. It represents the lingering imprint of childhood trauma and the solitude of growing up under its weight. Notably, none of the figures in the painting have facial features. This intentional choice evokes the fading clarity of memory, creating a dreamlike, timeless quality that invites viewers to enter the emotional landscape rather than focus on specific identities. This piece is part of Lin Lu’s **Red Leather Suitcase Series**, in which the suitcase becomes a recurring symbol of family pain, resilience, and the marks time leaves upon the soul.

The Exit of the Red Leather Suitcase Dance of Resurrection《红皮箱的出口：复活之舞》
Red Leather Suitcase A Vessel of Memory, A Witness to the Journey “Red Leather Suitcase” is drawn from Lin Lu’s real-life memory—an object that once belonged to her parents, now transformed into a symbol of migration, dislocation, and eventual homecoming. Like an extension of her own body, it carries unspoken sorrow as well as the strength to rise again. Each image in her work is like a symbolic fingerprint from her life journey—not meant to narrate, but to bear witness. They testify to the path she has walked, and to the silent yet constant hand of God guiding her along the way. The Language of Her Art: A Map of Emotion, Co-Written by Self and Spirit Unbound by traditional realism, Lin Lu paints in a free, intuitive, image-based style. Her visual language is autobiographical—where her life goes, the brush follows. Her colors and forms are not pre-designed but emerge naturally from the heart. This flow of color and layered imagery forms her own kind of visual theology—speaking between women’s lived experiences and sacred language, between brokenness and restoration, between silence and prayer. Who is she? She is both survivor and storyteller; wanderer and one who has come home. Her brush bears witness not only to a forgotten past—but to a God who has never forgotten her. She is not an artist looking down from a lofty place, but one who stands in the space between suffering and hope—painting a path of healing with love, honesty, and gentleness.

Memories of My Parents《父母的记忆》 A reimagined photo from 74 years ago—reviving the parent archetype and healing ancestral memory.
Lin Lu’s First Encounter with Her Parents’ Decades-Old Photograph: A Powerful Catalyst for Reconnecting with Family History and Processing Unresolved Grief A photograph unseen for 74 years became an entryway into history, emotionally reconnecting Lin Lu with her late parents. This highlights the crucial role memory plays in the grieving process. Rediscovering lost memories—especially visual ones—can awaken dormant emotions and provide opportunities for healing and closure. Art as a Healing Medium Lin Lu chose to paint this photograph as an act of therapy, transforming a small black-and-white image into a vibrant, richly detailed canvas. This act not only honors her parents but also represents a form of narrative therapy. Through art, Lin Lu reshapes her parents’ story, creating a tangible connection between past and present. Art therapy is widely recognized as a powerful tool for expressing emotions that can be difficult to articulate verbally. Lin Lu’s artistic journey demonstrates how beautiful, meaningful creations can emerge from painful memories, promoting emotional healing while preserving continuity and legacy. Intergenerational Trauma and Resilience The narrative also addresses the impact of historical and political turmoil on Lin Lu’s family, particularly the tragic persecution of her father during the Cultural Revolution. Her parents symbolize ordinary people struggling amid historical upheaval—common victims under Communist oppression. Her father’s early death and the family’s subsequent hardships reflect the long-term effects of trauma on individuals and their descendants. Recognizing and addressing intergenerational trauma is crucial for healing. By painting to honor her parents, Lin Lu strives to restore and process this trauma, transforming it into a story of resilience and love. Family Legacy and Continuity Through painting this photograph, Lin Lu preserves historical memory and passes her family legacy to future generations. Her son’s interest in painting portraits of his grandparents symbolizes the continuation of this healing process, as the next generation also engages with their family heritage. “Old Photograph: Reunion and Healing Across 74 Years” Family narratives play a vital role in shaping identity and a sense of belonging. Exploring family history offers valuable insights and inspiration for descendants, fostering a deeper understanding of themselves and their place within the family story. Love as a Lasting Force The enduring power of parental love transcends time and loss. “Only love is eternal” emphasizes love’s central role in healing. Despite the pain and loss in Lin Lu’s family, the love between her parents—symbolized by their holding hands in the photograph—remains a source of strength and comfort. Focusing on the warmth and positivity of parental love helps descendants find meaning and resilience in adversity. Lin Lu’s narrative therapy richly explores how healing can arise through memory, art, and family legacy. Her story illustrates how reconnecting with the past, expressing emotions creatively, and honoring enduring familial love become powerful tools for healing. These elements are crucial and inspiring for anyone navigating the complex process of grief, trauma, and resilience.

Eldest Daughter Syndrome《姐姐的长女病》
In this intimate portrait, two women appear closely intertwined. The elder sister, positioned above, holds a calm but resolute expression. Beneath her, the younger sister presses in closely — a gesture of silent longing and emotional dependence. When their father died, the elder sister was just 16. The younger, only 5. From then on, the sister became both eldest daughter and second mother. The younger wears purple — a color not consciously chosen, yet deeply symbolic: royalty, sacrifice, spirituality, and restrained desire. Their contrasting temperaments, shaped by loss and duty, reveal the deep emotional divide and invisible responsibilities carried by eldest daughters. In Chinese culture, we say “长女如母” — the eldest daughter is like a mother. Jungian psychology would call this the assumption of the family’s mother archetype. These daughters are often praised for being strong — yet their emotional needs go unseen. In this painting, the elder sister’s features express maturity and self-restraint. The younger reveals vulnerability, dependence, and an unspoken plea for love. This work is not just personal; it’s universal. On July 4th, while a nation celebrates its freedom, the artist remembers her sister — born on this day, now gone in body but present in spirit. Her photo stays on the artist’s desktop. Her love, laughter, and quiet strength remain. The fireworks overhead may mark a country’s liberty. But in the artist’s heart, they also celebrate the quiet, radiant freedom her sister gave her: the freedom to be loved, to be seen, to grow. 《姐姐的长女病》 布面油画，24 x 36 英寸｜2020 这幅作品描绘了两个女人的形象，上方是姐姐，神情沉静而坚毅；下方是妹妹，紧紧依偎在姐姐身旁，流露出未被言说的依恋与情感的需求。姐姐因为父亲早逝，在16岁便承担起家庭重任，而那年妹妹才5岁。从此，姐姐既是长女，也是“如母”的存在。 紫色衣裙，是无意识中的选择，代表了牺牲、灵性、尊贵，以及压抑的情感张力。画中姊妹之间强烈的情感纽带，以及性格的差异，呈现出家庭结构中长女所承载的情感重量。 “长女如母”是中国文化中广为流传的说法，长女常常成为家庭中情绪与责任的支点。荣格心理学将这类角色视为“家庭母性原型”的代偿者，她们以坚强掩饰脆弱，以照顾掩盖渴望。画中的姐姐面容成熟、内敛、自我约束，而妹妹则展现出依恋、信赖与爱之需求。这不仅是画者个人记忆的重现，更是对无数家庭中“长女”的共同致敬。 7月4日，美国庆祝独立、自由，而这一天，也是画者姐姐的生日。她虽已离世，却仍以温柔的爱与安静的力量照亮画者的生命。这幅画是纪念也是疗愈。姐姐的爱，至今仍在。

My Dad Gave Me a Doll Dressed in a Military Uniform 爸爸送我穿军装的洋娃娃

“What Are You Really Afraid Of?” — A Jungian Healing Perspective《你到底在怕什么？》——荣格视角下的疗愈画像

"Swans" — A Jungian Perspective《天鹅》——荣格心理学视角

命定的双螺旋Destined Double Helix
这幅作品以蓝、红、黄、绿的曲线描绘出DNA的双螺旋结构，象征两条生命路径的交错与缠绕——一个在美国追溯家族基因，一个在中国过着毫无关联的人生。谁能想到，在七千里之外，他们会相遇、结婚，开始一段新的共同旅程？ 画面中的色彩既充满力量，又充满柔情，象征血脉、文化与灵魂的相遇。那两组缠绕的曲线不仅仅是遗传密码的象征，更是命运的预表——在人看为不可能的相遇，在上帝的手中成为恩典的奇迹。 《命定的双螺旋》是一幅关于连结的画，是祷告的回响，是爱如何穿越时间、空间与创伤的见证。 ______________________This painting presents a vibrant tangle of blue, red, yellow, and green curves—forming a visual metaphor of the DNA double helix. Two strands intertwine like fate itself, symbolizing two lives once worlds apart: one man tracing his ancestry in America, the other artist living in China, unaware that their stories would someday merge. The rhythm of the colors pulses with the mystery of connection—bloodlines, culture, memory. These strands are not just genetic code; they are a sacred map of belonging, of two lives being gently braided together by something far greater. "Destined Double Helix" is more than a visual expression—it's a testimony of unexpected love, of faith in unseen threads, and of how God weaves beauty through biology, distance, and time.虽然画面动态混乱，但人物面孔成为观者心灵的“锚点”，仿佛意识之舟在无意识的海洋中找到片刻的安定。这幅作品并不满足于表面装饰或情绪宣泄，而是一幅具有“唤起性”（numinous）的视觉象征之作。它所唤起的，是观者心中未被命名的情感碎片，是对失根感、身份之谜、跨文化归属感的深层回应。这幅画是一个活生生的象征空间。它不仅是一幅色彩之作，更是一幅梦的地图、灵魂的肖像、自我召唤的回应。它邀请观者走进自己，看见自己，也爱上自己——即便是在混乱、漂泊、或身份迷失的时刻。

She Who Flew Out of the Bottle《她从瓶中飞出》
“She Who Flew Out of the Bottle” This painting was created on April 17, 2025, following a heartfelt conversation between the artist and her husband. It originated from the husband’s deep compassion and concern for the “little girl in the bottle” depicted in one of his wife’s earlier paintings. That earlier work portrayed a bittersweet childhood memory—a girl held by her father, trapped inside transparent bottles marked “1965” and “1968.” She was lonely, silent, longing, and withdrawn. After seeing the painting, the husband couldn’t stop thinking about her. He told his wife, “I want to bring her out, give her a hug, give her a home.” In truth, he had already done so with love—constantly buying flowers for her and tenderly caring for her heart. The wife replied, “The little girl is no longer inside the bottle. She has been set free by faith in the truth!” The husband smiled and responded, “That’s right. Thirteen years ago, you came to me and said, ‘My name is Sarah.’ From that day on, I gave you a home.” After he left for work, the wife painted this picture. In the upper right, a black-haired East Asian woman soars lightly in a bright blue sky. Her dress is composed of shattered blue-and-white Chinese porcelain patterns, symbolizing how she transforms the fragmented pain and cultural shards of memory into beautiful new life. At the upper left, her family’s red leather suitcase lies open. Childhood tears, a doll dressed in military uniform, old photographs—all past burdens released—now transparent, light, and floating in the sky, no longer heavy. Guided and protected by the Holy Spirit, the shards fly free; she has wings— not by her own struggle, but lifted by God’s grace. At the bottom, a couple holding hands, dressed in red, stands by a peaceful harbor in Maryland. The woman gently points to the sky, telling her husband the story of how that little girl flew out of the bottle—this is the artist’s own life story. In the distance, two sailboats drift slowly on the water, symbolizing freedom, journeys, and new directions. This painting testifies to rebirth from pain and ascent from bondage. It is also a tender memory of healing and restoration in marriage through love, faith, and compassion.

《荆棘为冠，医治之源》 Crowned with Thorns, Source of Healing
Crowned with Thorns, Source of Healing is an abstract yet reverent depiction of Jesus on the cross. His face is not literally rendered, but His presence is deeply felt: the crown of thorns presses into His brow, blood flows from His wounds, and His body rests in a posture of surrender and sacrifice—the Man of Sorrows who bore our pain. The painting captures the spiritual essence of the crucifixion. The chaotic brushwork conveys agony and glory intertwined. The fractured background evokes the world’s violence, while glimmers of light hint at divine mercy breaking through. His blood flows not to disturb but to restore. “By His wounds we are healed.” (Isaiah 53:5) Viewers are invited into a sacred moment—to lay down their wounds before the Wounded Healer, and to encounter a love that does not end. This piece is a visual prayer for those who long for healing, painted in faith, pain, and hope. ________________________________________ 《荆棘为冠，医治之源》 以抽象而敬虔的方式描绘了被钉十字架上的耶稣。祂的面容虽未具象描绘，却令人深刻感受到祂的同在：荆棘深深压在祂的额头，鲜血从伤口流淌，祂的身体呈现出顺服与献祭的姿态——那位为人忧患、背负人类痛苦的救主。 这幅画触及十字架的灵魂实质。纷乱有力的笔触交织着痛苦与荣耀，背景的混沌象征世界的暴力，而光的微光如同神的怜悯穿透黑暗。 祂的宝血流出，不是为了震撼，而是为了医治。祂的鞭伤，是救恩的入口。“因祂受的鞭伤，我们得医治。”（以赛亚书53:5）观者被邀请进入这神圣的时刻，把自己的伤口交托给那位受伤的医治者，经历那永不止息的爱。 这是一幅为渴望医治之人而画的祷告之作，在信、痛与盼中展开。

《日蚀之下：天空的见证》 Eclipse Over the Divide
In this evocative landscape, a fighter jet slices across a glowing sky, hovering between the flags of Israel and Iran. Beneath it, golden hills stretch to the horizon, warmed by the last rays of a setting sun. A solar eclipse hangs above—a celestial sign of alignment and obscurity, casting both awe and uncertainty over the scene. This painting was created in response to the events of June 22, 2025, when U.S. B2 bombers struck Iranian targets. But the artist does not seek to record headlines. Instead, she seeks to preserve what the news cannot hold: the silence afterward, the unanswered prayers, and the ache left in the soul. The juxtaposition of beauty and violence, of nature’s calm and human conflict, speaks to the deep contradictions of our world. In her signature style, the artist transforms a political event into a spiritual reflection—one that invites viewers to pause, breathe, and ask: When the headlines vanish, what lingers in our hearts? Her landscapes are never neutral. They are vessels of memory, woven with longing, rupture, and the hope for redemption. By layering national symbols with sweeping skies and cosmic rhythms, she reminds us that even war lives under the same sun, and every silence has its witness. 在这幅引人深思的风景画中，一架战斗机划破余晖中的天空，在以色列与伊朗的国旗之间飞行。大地被夕阳染成金色，远方群山沉静而安详。高空中，一轮日蚀悄然发生——天地之间的交汇与遮蔽，为这片天地增添了神秘、悬念与祷告的气息。 2025年6月22日，美国B2轰炸伊朗。然而，这幅画并不是为了记录新闻，而是为了守住新闻之后的静默——那些被带走的声音、那些未曾说出口的哀求，那些在心里留下的余震。 林鹿的风景画从不是中性的。她将大地、天空、国家的象征与人的情感记忆交织在一起，构成一幅既是政治事件的回应，也是一首视觉的祷告诗。在她看来，战争也在太阳之下，沉默亦需有人作见证。 在光影与阴影之间，这幅画成为一种呼唤——呼唤观者去凝视那人类无法掌控的张力，去倾听那渐被遗忘的心灵回响。

The Mirror of the Sky《天空之镜》 — In Memory of Beverley and Branda Gay, February 5, 2025, Cocoa Beach “I Will Fly Away”
The Mirror of the Sky《天空之镜》 — In Memory of Beverley and Branda Gay, February 5, 2025, Cocoa Beach “I Will Fly Away” This painting holds a sacred memory. On February 5, 2025, while I was in Cocoa Beach, Florida, I received the news that both of my spiritual mothers had passed into the Lord’s embrace — on the very same day.

Memories Sealed in 1965 and 1968 1965年和1968年关锁的记忆

Red Rose and the Echo of Strings 《红玫瑰与回响的弦音》

“You Are Loved”《你被爱着》
This painting carries a meaning far beyond its visual form—it became a vessel of healing and grace. One day, a woman undergoing cancer treatment visited my husband’s counseling office. As she sat in session, her eyes kept returning to the sunflowers on the wall. My husband noticed her connection with the artwork. She told him how much she loved it. He came upstairs and asked, “Would you be willing to give her that sunflower painting? She's battling cancer.” I said yes without hesitation and brought it to her, saying, “My husband told me you liked this painting—please take it home with you.” Tears welled up in her eyes as she said, “I've never in my life felt that God loved me. But now, I feel it—through this painting. I've always wanted to create something like this, but I couldn’t. This is exactly what I’ve held in my heart.” Later, she went through chemotherapy, received a bone marrow transplant from her son, and survived. As a token of gratitude, she brought us lilies, which now bloom beautifully in our garden. This painting became more than art—it became a touch of divine love.

"One and Only Beverly: The Angel Cards" 《唯一的贝文莉：天使卡片》
"One and Only Beverly: The Angel Cards" Today, on what would have been Beverly G. Derr’s 92nd birthday, we remember her with joy and gratitude. She once said, “God must have sent you as angels to me.” In this painting, I returned that blessing — surrounding her with angels, as she swims peacefully in the place she loved most: her pool. Tomorrow, at her farm, we’ll celebrate her life by doing what she loved: swimming, sharing food, and remembering her warmth. Beverly was — and always will be — our one and only SM spiritual mother. 《唯一的贝文莉：天使卡片》 今天是贝文莉·Derr的92岁生日，我们满怀感恩与喜乐地怀念她。她曾说：“上帝一定是把你们当作天使送来的。”这幅画，就是回赠她的那份恩典——她安详地在泳池中畅游，四周围绕着天使，那是她最爱的地方。 明天我们会在她的农场举办庆典：游泳、吃饭、谈笑，就像她生前最喜欢的那样。贝文莉，是我们的SM属灵妈妈，她的爱，将永不褪色。

簪花夏日 Summer of Hostas
• 每年夏天，簪花（Hostas）都会在后院悄然盛开。她们越长越茂盛，悄无声息地铺满了小木屋前的土地。尤其是那一片紫色的簪花，单色成片，自成风景，让人心生宁静。 • 画面以温柔而富有质感的笔触展现了这一季节的蓬勃生命。花朵在微风中轻轻摇曳，绿意、粉色与紫色交织成一幅动人的夏日诗篇。那座被花海包围的小屋，仿佛是一个隐秘的心灵避世所，引导观者沉浸在宁静与欢愉之中。 • 这幅画不仅是一处视觉上的栖居之所，也是一段关于季节、成长与安静陪伴的温柔叙事。• Every summer, the hostas bloom abundantly in the backyard, their presence growing stronger and more lush with each passing year. Especially striking is the sea of purple hostas by the little cottage—monochrome yet vibrant, distinct and quietly captivating. • In this vibrant landscape, a quaint house emerges from waves of blooming hostas, each petal a soft murmur of nature's poetry. The artist's textured brushwork draws the viewer into a serene world of greenery and blossoms swaying gently in the breeze. Shades of purple, pink, and green interlace in a visual symphony, evoking peace, joy, and quiet wonder. • This painting is both a celebration of summer's gentle abundance and a tribute to the beauty that grows quietly, year after year, in the everyday corners of life.

Horizon of the Soul《灵魂的地平线》
《灵魂的地平线》 Horizon of the Soul 地平线既是视觉的分界，也是心理的象征边界，象征个体化过程的转折。日落时刻的灵魂，色彩在天与海之间律动交织，如意识与潜意识的交会，带领观者进入内在的沉思空间。 This abstract work captures the soul’s journey at sunset, where sky and sea meet in rhythm and color, inviting introspection and symbolic transformation.

《如断奶的孩子》Like a Weaned Child
《如断奶的孩子》 Like a Weaned Child 在母亲怀中安静无声的婴孩，不再挣扎，不再哭号，只是完全地信靠。 如诗人所说：“我心平稳安静，好像断过奶的孩子在他母亲的怀中。” 这是成长的记号，是灵魂深处对神的信任。 A baby resting in quiet stillness, no longer striving or crying—only trusting. As the psalmist says: “I have calmed and quieted my soul, like a weaned child with its mother.” This is the mark of growth—a deep trust in God from the soul. 经文 | Scripture (Psalm 131:2, ESV) “But I have calmed and quieted my soul, like a weaned child with its mother; like a weaned child is my soul within me.”

The Twilight Worshiper《黄昏敬拜者》
在《黄昏敬拜者》这幅抽象风景画中，艺术家捕捉了一个灵魂在暮光中的祈祷时刻。夕阳沉入海平线，天与海交融成一首色彩的赞美诗。她在沙滩上缓缓前行，仿佛在与自然、与神、与内在对话。画中码头如同连接意识与无意识的桥，静静见证着黄昏的敬拜。这不仅是一幅风景，更是一场灵魂的旅程。 #黄The Twilight Worshiper captures a sacred moment of stillness and transformation. As the sun sinks below the horizon, the sky and sea merge into a luminous psalm of color. She walks along the shore, engaged in a quiet act of worship—of God, of nature, of the inner self. The pier stands firm, a symbolic bridge between the conscious and the unconscious. This painting is not merely a landscape—it is a soul's journey.

《灵魂的地平线》 Horizon of the Soul
地平线既是视觉的分界，也是心理的象征边界，象征个体化过程的转折。日落时刻的灵魂，色彩在天与海之间律动交织，如意识与潜意识的交会，带领观者进入内在的沉思空间。 This abstract work captures the soul’s journey at sunset, where sky and sea meet in rhythm and color, inviting introspection and symbolic transformation.

Apocalyptic Dance: The Inner Eclipse 《天啟之舞 — 內在日全食》
2017年8月21日，美國迎來了近一個世紀以來首次貫穿大陸的日全食，月亮的陰影以每小時逾1200英裏的速度越過14州(cbsnews.com)，從俄勒岡州林肯海灘開始，最終至南卡羅來納州查爾斯頓結束。這一壯麗天象激發了藝術家林鹿的屬靈領悟與視覺呈現。火红与深蓝在画布上翻腾交织，仿佛日全食时分光与暗的剧烈对撞。画面中的两个圆形，分别象征太阳与月亮——月亮正缓缓覆盖太阳，正如2017年那一次横穿美国大陆的壮丽奇观。背景中隐约可见的美国国旗形状，则成为一种“属灵见证”：不仅见证自然界的奇迹，也提醒着观看者属灵国度的临近。

Dream in a Bottle 《瓶中梦童年的原型之光》
Dream in a Bottle《瓶中夢》 She wears the little dress and slippers her father gave her, sitting in a glass bottle of memory and silence. After he died, part of me was sealed inside. This painting is my first step toward opening that bottle. #DreamInABottle #LostChildhood #GriefAndLove #SoulSymbolism #ArtOfMemory 穿著爸爸送的小裙子和拖鞋， 她被封存在瓶子裡的記憶與沉默中。 爸爸去世後，我的一部分也被封存了。 這幅畫，是我走向她的第一步。 #瓶中夢 #封存的童年 #失落與愛 #靈魂象徵 #記憶的畫

《坠落之翼》Falling with Wings A Dream on New Year’s Morning

Golden and Still — The Way My Mom Looked When Carrying Me《妈妈怀着我时的模样》
When She Carried Me 《她怀着我时的模样》 She didn’t smile in the photo— but she looked peaceful, wearing a soft yellow sweater, carrying me quietly beneath her heart. My father had the black-and-white portrait hand-colored. He wanted to preserve her gentleness. This painting is my way of looking back— to the first moment she held me, before sorrow entered our lives. #MotherAndChild #MemoryBeforeGrief #WombConnection #GentlePortrait #SilentTenderness 那張照片裡，她沒有笑， 但她看起來很安靜， 穿著一件淡黃色的毛衣， 悄悄地懷著我。 那是爸爸帶她去拍的黑白照， 還特地請人手工上色。 這幅畫，是我對她的回望—— 回到我第一次被她懷抱的時刻， 在悲傷尚未來臨之前。 #媽媽與我 #悲傷之前 #子宮的連結 #溫柔肖像 #靜默的愛

When Father Was Here, Mother Smiled Like Spring《父亲在的时候，妈妈笑得像春天》
When Father Was Here, Mother Smiled Like Spring 《父亲在的时候，妈妈笑得像春天》 In a hand-colored photo from 1950, she smiles like spring—soft, bright, blooming. My father took her to the studio, wanting to keep that smile. Sixteen years after her passing, I painted this to remember: She once laughed with all her heart. #MotherInSpring #MemoryOfJoy #HandColoredPhoto #BeforeTheGrief #LoveRemembered ________________________________________ 1950年，父親帶妈妈去照相館， 那張照片裡，她笑得像春天——溫柔、明亮、盛開著。 照片是手工上色的，父親想留下那個笑容。 在媽媽離開我們十六年後， 我畫下這一刻，紀念她曾經那麼真心地笑過。 #春天的媽媽 #記憶中的笑容 #手工上色的照片 #悲傷之前 #被愛著的時光

Silent Motherhood《静默中的母亲 》
Silent Mother in My Dream 《梦中沉默的母亲》 She appears in my dreams often— always quiet, always watching. Not because she has no words, but because I was once too afraid to listen. Now I begin to see her. #SilentMother #DreamPortrait #UnspokenGrief #SeeingHerNow #HealingThroughArt 她常常來我夢中， 總是沉默，總是靜靜地看著我。 不是她無話可說， 而是那時的我太害怕去聽。 如今，我開始看見她了。 #夢中的母親 #沉默的肖像 #未曾傾聽的悲傷 #我開始看見你 #畫中療癒

October 23, 1968 — The Day the World Changed《1968年10月23日那一天》

The Little Girl Waiting for Flowers《等花回家的小女孩》
The Little Girl Waiting for Flowers 《等花回家的小女孩》 A girl stands quietly among blooming morning glories, waiting for flowers her father used to bring home. She is my childhood self—still, tender, expectant. A portrait of longing held in silence. #SilentLonging #ChildhoodMemory #WaitingForLove #InnerChild #ArtOfTenderness 牵牛花盛开， 小女孩静静地等着爸爸下班带花回家。 她是我童年的自己，柔软、沉默、等待著。 这是静默渴望的肖像。 #靜默的渴望 #童年記憶 #內在小孩 #等愛的孩子 #溫柔畫語

Art Review: A Brush of Compassion, A Light of Healing — On Lin Lu’s The Heavenly Camp
In The Heavenly Camp, Lin Lu offers more than a visual response to tragedy — she paints an act of deep soul care and quiet compassion. This artwork was born from the devastating 2025 Texas flood, in which a group of girls went missing while attending summer camp. Rather than depicting the disaster in a literal or journalistic way, Lin chooses the language of healing and transcendence to portray something sacred amidst grief. The girls in the painting wear white dresses — symbols of purity, innocence, and spiritual rebirth. They are not shown in distress; instead, they are being gently led by angels into a heavenly summer camp — a place free of fear, tears, or separation. There, they can fly. There, joy continues. A defining feature of Lin Lu’s art is what we might call her gentle gaze. Her paintings do not push viewers toward sorrow. Instead, through soft light, symbolic imagery, and poetic space, she invites contemplation and prayer. The moon, clouds, and wings — motifs often found in her work — create a dreamlike comfort, bridging heaven and earth, presence and absence. The Heavenly Camp also reveals Lin’s sense of artistic responsibility when facing trauma. She does not stand at a distance. She enters the sorrow, brush in hand — accompanying the grief, wrapping pain in images. Her compassion is not abstract; it is deeply specific. This painting is for the parents, the grandparents, the friends who mourn. She does not paint death — she paints continuation, a vision of the girls alive in eternal light. Lin Lu’s work is not just a painting. It is a letter, a prayer, an invitation to healing. She transforms tragedy into hope, sorrow into peace, and endings into eternity — all through the quiet strength of her art.

In Memory of the Girls Lost in the Flood "Rainbow Above the Clouds"
The death toll rises to 59 after a catastrophic Texas flood. The number of missing girls from Camp Mystic’s girls’ summer camp ranges between 11 and 27. The most recent reliable count confirms that 11 girls and 1 counselor are still unaccounted for. This abstract painting is a tribute to the girls who went missing during the devastating flood in Kerr County, Texas—where at least 80 lives were lost and many remain unaccounted for. Behind every missing name is a family now engulfed in endless grief and the unspeakable pain of regret. A radiant rainbow arches above the clouds, not merely as a natural marvel, but as a spiritual bridge—a sign of eternal peace and a sanctuary beyond sorrow. Beneath the rainbow stands a girl. The blue door below is not an exit but an invitation—a threshold to another dimension, where souls are embraced by their Creator, where pain gives way to healing, and absence is held in eternal memory. May this painting bring comfort to the grieving, and remind us that beauty and light can still rise through storm and shadow. The girls are not forgotten—they live now in the brilliance above the clouds, safe and free.

The Heavens Declare: The Twilight Gate and the Light of the Soul 《诸天述说荣耀：黄昏之门与灵魂之光》

Rooted in the Psyche — A Reflection on the Field of Poppies《扎根于心灵的原野》——虞美人 野地虞美人——纪念阵亡将士
The red hue not only signifies the vitality of life but also evokes reflections on sacrifice, blood, and remembrance. The dark center of each flower resembles a bullet, alluding to the wounds of war and death. As the symbolic flower of fallen soldiers, the poppy stands as a tribute to mourning, remembrance, and the imperative not to forget. The soul becomes colored with the color of its thoughts.

So Close, So Far: A Painting for June 4th；8964，如此近又如今远

“The Gate of Memory: The Tiananmen Mothers Who Still Stand” 致敬天安门母亲
This poignant portrait honors the enduring presence of the “Tiananmen Mothers” — women who, for decades, have held vigil at the threshold of silence, demanding truth, justice, and remembrance for their lost children. The central figure's gaze is unyielding — a mother’s eyes, weathered by grief yet ignited with undiminished clarity. Around her, ethereal angels form a spiritual perimeter, and beneath her feet, architectural references ground her in a specific time and place — Tiananmen, 1989. "Tiananmen Mothers" is a human rights advocacy group formed by the families of victims who died in the 1989 Tiananmen Square crackdown. The group is dedicated to seeking truth, justice, and official acknowledgment for their loved ones who were killed during the suppression. It was founded by Professor Ding Zilin, whose son Jiang Jielian was killed in the incident. Since the early 2000s, the group has been urging the Chinese government to conduct a full investigation into the events of June 4, 1989, to publicly disclose the number of casualties, to hold those responsible accountable, and to allow families to mourn their loved ones openly. (Wikipedia, Wikipedia)

“Poppies” | An Inner Journey through the Flower of Remembrance《虞美人》｜献给记忆之花的内在旅程

Whispers of the Spiral 《螺旋低语》

God’s Way Is Higher 神的道路更高

Hope Springs 盼望泉涌
“Art as Prayer, Life as a Vessel” A Conversation with Lin Lu: Painting as Prayer, Presence, and Spiritual Dialogue

《当代出埃及记》A Modern Day Exodus 五月花教会64人被人道援助抵达美国德州

With the Tiger The Portrait of Zhang Zhan 《与虎谋皮：张展》

《为人当如梅：致张展》To Be Like the Plum Blossom – In Honor of Zhang Zhan

Peace Dove Gallery Stories from the Red Leather Suitcase 和平鸽画廊与红皮箱的故事
Peace Dove Gallery Stories from the Red Leather Suitcase

等英强回家．秋雨组画之一Waiting for Timothy Lee to Come Home – Early Rain Covenant Series I

The Hong Kong Girl Shot in the Eye; 如今有谁记得那位被橡皮子弹打爆一只眼睛的香港女孩？

The Purple Gallinule in the Mirror of the Sky

Portrait of Dietrich Bonhoeffer with His Poem “Who Am I?” 迪特里希·朋霍费尔牧师与其诗《我是谁？》
这幅画是一次灵魂肖像的描绘——不是对外貌的模仿，而是对内在真相的凝视。 This painting is not a likeness of appearance, but an icon of inner truth. 在极权与死亡面前，潘霍华写下的“我是谁”，仍然回响在今日： Who am I — torn, trembling, yet held by grace? 谁是我——颤抖破碎，却在恩典中被托住？— A Psychological and Spiritual Reflection from Prison, 1945 这幅画描绘的是德国殉道者迪特里希·潘霍华（Dietrich Bonhoeffer）在纳粹监狱中的最后岁月。他那首深刻的诗《我是谁？》写于1944年，是他在极度孤独、即将面对死亡时，对自我最赤裸的凝视。 这不只是信仰者的忏悔诗，更是一段灵魂穿越“暗夜”的心路历程，是荣格心理学中的典型个案：人格面具（Persona）、阴影（Shadow）、自我（Ego）与自性（Self）在其中相遇、冲突、转化，最终归向整合。 一、面具下的挣扎 画中人物表情沉静却眉间紧锁，正如诗中前半部分描绘的：“从容、愉快、坚定”——这是外界眼中的潘霍华，是他所扮演的社会角色（Persona）。但他的凝视却透出深深的怀疑：这真的是我吗？他的“面具”下，隐藏着对真实自我的渴望与不安。 二、阴影的浮现 画面背景采用深沉冷色，象征内心被压抑的情感：恐惧、软弱、愤怒、绝望。这是潘霍华诚实面对的阴影（Shadow），也是灵魂痛苦但真实的部分。阴影的浮现，是整合之路的开始。 三、自我分裂与转化召唤 他在诗中问：“我究竟是谁？”——这一存在性的疑问体现出自我（Ego）的分裂与混乱。他既是监牢中祷告的人，又是灵魂战斗中的挣扎者。他在两个极端中摇摆——但正是在这种撕裂中，自性（Self）开始发出召唤。 四、灵魂的暗夜，走向整合 整幅画没有高声呼喊，而是以静谧承载剧烈的内在转化。那最后一行诗：“主啊，你知道：我是属你。” 是他超越人格困局的出口——不是靠分析，不是靠控制，而是交托，是信靠，是灵性与心理的合一。 English Interpretation: This portrait captures the final days of Dietrich Bonhoeffer, the German pastor and theologian imprisoned and executed by the Nazis. His poem “Who Am I?” (1944) becomes a psychological mirror—a cry from the depths, not of despair, but of soul-deep reflection. More than a confession of faith, this poem is a textbook example of a Jungian individuation process, tracing Bonhoeffer’s confrontation with the Persona, Shadow, Ego, and the Self, culminating in spiritual and psychological integration. 1. The Persona Cracks Bonhoeffer appears calm, composed—“cheerful and firm,” as others described him. But beneath the mask (Persona), his eyes betray the tension: Am I truly what they say I am? The poem begins with the voice of public expectation, but his question tears open the facade. 2. Shadow Emerges The darker tones in the background hint at his suppressed fears, despair, and longing—“restless, yearning, sick, like a bird in a cage.” These are elements of the Shadow—the repressed, unacceptable parts of the self. Bonhoeffer doesn’t deny them; he names them. This radical honesty marks the beginning of inner transformation. 3. The Ego in Crisis “Who am I—this or the other?” His Ego fractures under the strain. Two selves emerge: the strong, outer man of faith, and the weak, inner man of pain. His inability to reconcile them points to a psychological split—and yet, also, to a Self that begins to summon him beyond the contradiction. 4. Dark Night and Spiritual Transcendence Bonhoeffer does not resolve this by force or logic. Instead, the poem—and the painting—lead us to a sacred surrender: “Whoever I am, Thou knowest, O God, I am Thine.” This is the threshold of individuation. He entrusts the riddle of identity to the Divine. For Jung, this is a symbolic union with the Self—the transcendent center of the psyche.

Emergence: A Journey through the Depths of the Unconscious 《浮现》：在无意识的深海中寻找自我

Victoria Park — The Heart of the Movement

She with the Chains in China 铁链女

Victoria Chair & Red Shoes: A Journey into the Inner House of Memory《维多利亚椅与红鞋》：走进潜意识的记忆之屋

Healing Through Ancestral Memory： My Great Grandfather in Shenyang, 1920

Repenting 32 Years of Silence "Silence chained the wound — now tears cleanse the soul and face the light of truth."
Repenting 32 Years of Silence is more than a painting — it is a psychic altar, a sacred space where memory, mourning, and moral courage converge. It invites viewers to confront forgotten truths, to weep, and to awaken. When public commemoration is no longer permitted, art becomes the last sanctuary. And when candles can no longer be lit in the square, they may yet burn within us — quietly, steadily — lighting the path toward remembrance, repentance, and renewal.心灵的烛坛，沉默的忏悔 《忏悔32年不曾纪念》不仅是一幅画，而是一座心灵的烛坛（psychic altar）。它邀请我们凝视那些被封存的真相，倾听那些未竟的哀悼，也召唤我们每一个人重新做出选择：在遗忘中沉睡，还是在记忆中苏醒。 当公共空间不再允许悼念，艺术就成为最后的庇护所。而当蜡烛无法点燃于广场，它仍可以燃烧在你我心中。

Retrieving What Was Lost《拾回》
疗愈之路，从记得开始 The Path to Healing Begins with Remembering

The Breath of Light and Color in Colorado Peaks 《Colorado 山峰》

She Doesn't Know Yet: Where Did Daddy Go?" 《她才三岁，还不懂: 爸爸去哪儿了？》
The expression of a three-year-old girl at her father's memorial service—she has yet to understand what “death” truly means, but the love her father gave her will be remembered forever. This theme carries a gentle, innocent, and tender sorrow—one that touches the heart without overwhelming it with grief.一个三岁的小女孩在爸爸追思会上的神情，她还无法理解“死亡”真正意味着什么，但那份父爱将永远被她铭记——这个主题充满了温柔、无辜与哀而不伤的情感。

From Sunrise to Sunset 《从日出到日落》
Artist Statement: Why My Paintings Are Bright and Vivid in Color 艺术家自述：为何我的画色彩明亮 在我的创作中，色彩是一种祷告，也是一种回应。 我选择明亮而鲜艳的色彩，不只是为了美，而是因为那是我灵魂深处对光的渴望。在每一幅画里，我都试图捕捉一个转瞬即逝的神圣时刻——像日出时天边的光，像暴风雨后重新归来的彩虹。 这些色彩，是我走过内在幽暗旅程后所看见的光亮，是痛苦转化之后留下的恩典印记。它们不只属于我个人的经验，也呼唤着观者的记忆与盼望。 在绘画的过程中，我发现色彩能带来力量。红色给我勇气，黄色让我记起盼望，蓝与绿让我呼吸、得安宁。也许对观者来说，这些明亮的色彩是某种邀请——邀请你回到内在的光源，聆听上主在心湖上轻轻掠过的声音。 我相信，色彩可以疗愈，也可以启示。愿我的画作成为你灵魂旅程中的一道光。 ________________________________________ In my art, color is both a prayer and a response. I choose bright and vivid colors not merely for their beauty, but because they speak to a deep longing within me—for light. Each painting is my attempt to capture a fleeting, sacred moment: the edge of dawn, the return of a rainbow after a storm, or the quiet shimmer of grace after sorrow. These colors arise from my journey through shadow and are traces of transformation and hope. Color gives me strength—red brings courage, yellow recalls hope, and blues and greens help me breathe. Perhaps for the viewer, these vivid hues offer an invitation: to return to your inner source of light, and to listen for the gentle whisper of the Creator across the still waters of the soul. I believe color can heal, and it can reveal. May these paintings be a light along your own path.

Whimsy of Angels — A Jungian Reflection on Innocence, Play, and the Inner Child
Whimsy of Angels This joyful painting features two whimsical angels, inviting you into a world of innocence, wonder, and play. With vibrant colors, golden accents, and expressive faces, it celebrates the healing power of joy and the magic of the inner child. This piece gently reconnects us with the part of ourselves that still believes, still plays, and still dreams. A perfect artwork to uplift your spirit and brighten any space. 《天使的童趣》 这幅充满童趣的画作描绘了两位欢快的天使，引领我们进入一个纯真、奇妙与游戏交织的世界。鲜艳的色彩、金色光芒与富有表现力的面容，共同传达出疗愈的喜乐与内在小孩的魔力。这幅画温柔地唤醒我们心中依然相信、依然玩耍、依然做梦的那一部分。是一件能够点亮空间、抚慰心灵的理想之作。 Bring home the joy of your inner child — playful angels to warm your soul. 把童心的喜乐带回家——天使的轻舞，温暖你的心灵。

《余晖相伴》Together in the Twilight
Set in the harbor of Tampa, Florida, this painting captures the serene beauty of twilight. The sky comes alive in a dance of orange and blue, casting its radiant colors across the gently rippling water. A mother and daughter stand quietly at the edge of the pier, watching the sunset together, while nearby figures stroll in peaceful rhythm with the fading day. With expressive brushwork and vibrant tones, the artist brings energy and warmth to the scene, inviting viewers to pause, reflect, and feel. This piece is not just a visual delight—it is a gentle reminder of the connection we share with loved ones and the beauty woven into everyday moments.

"Lavender and the Fallen Nest" 《薰衣草与落巢》
One day, David found a bird's nest that had fallen from a tree. He brought it home, and I was struck by its delicacy and intricate construction—a small masterpiece shaped by nature. I placed it in my studio and was inspired to paint it, capturing the quiet wonder it stirred in me. At the time, our backyard was alive with blooms—sunflowers, lilies, and lavender all in glorious bloom. These flowers, too, found their way into the painting, creating a vibrant composition that celebrates life, beauty, and memory. The nest represents fragility and shelter, while the blooming flowers stand for renewal, love, and the resilience of creation. Last year, David gifted me a single pot of lavender. This year, seeing my joy, he planted six more in a row—an unspoken, gentle expression of love. I call it “Lavender Love.” This painting is not only a tribute to nature’s poetry but also a reflection of how small gestures root themselves deeply in the soul.

Ruth in the Field 在麦田中祷告：路得的等待

The Trumpet — A Call to Awakening《觉醒的号角》

The Vessel of Renewal 重生之罐

Amy and Aida – Messengers of Joy and Grace 喜乐与恩典的使者

Blood Moon Warning 2016 《血月警示 2016》

光影之间：中东日记画 · 2024年6月22日Between Light and Shadow Middle East Diary

To Leona Choy Her Love Remains 她的爱仍在

Book · Window · Beyond《书·窗·彼岸》
一本漂浮的书，一扇无声的窗，色彩交织出内心的宁静旅程。 A floating book, a silent window—where colors unfold an inner journey of stillness. ________________________________________ 窗外有书 · 心之所往 The Book Beyond the Window 一本漂浮的书，一扇无声的窗。色彩与记忆交织成诗，邀请你走进思绪深处的风景。 A floating book, a silent window. Where color and memory meet, inviting you into a landscape shaped by thought and wonder.

Wings of the Soul Soaring Through a Symphony of Color and Spirit《心灵同羽：在色彩与灵性的交响中飞翔》

The Promise in the Storm《风暴中的应许》
在洛杉矶驶向拉斯维加斯的途中，我穿越了大片空旷的旷野。那天，天色骤变，风起云涌，一场暴风雨在地平线上酝酿。天地间弥漫着一种震撼人心的力量与宁静的对峙。就在那样的光影交错之间，一节经文浮现在我心中： “我要在旷野开道路，在沙漠开江河。” ——以赛亚书 43:19 这幅画正是那一刻的回声——一个灵魂在旷野中凝望风暴，却感受到神圣应许的画面。 我以抽象的方式表现天地翻涌的张力：湛蓝与深紫的天色如涌动的水，红土与金黄的沙丘如燃烧的大地。画布中的每一道色彩，都源于内心的感受与记忆的回响。暴风雨并非终点，它是更新的前奏。 这不是自然风景的再现，而是一个内在图景的展开——一个在孤独与混乱之中，寻找盼望与出路的灵魂祷告。 2009 While driving from Los Angeles to Las Vegas, I found myself surrounded by vast wilderness. A storm was rising on the horizon—dark clouds swirling, sky and earth in turmoil. In that charged silence, a verse rose in my heart: “I will make a way in the wilderness and rivers in the desert.” — Isaiah 43:19 This painting is a response to that moment. It is not a literal landscape, but a spiritual one—a visual meditation on the tension between desolation and divine promise. The deep blues and purples of the sky clash with the warm, scorched tones of desert hills. Each brushstroke carries the pulse of wind and faith, fear and hope. In the heart of the storm, something begins to open—perhaps a way forward, perhaps a river yet unseen.

《倾倒的爱：抹大拉的马利亚与女性灵魂的觉醒》Poured Out Mary Magdalene and the Awakening of the Feminine Soul

After the Flood Covenant at Sundown洪水之后：日落之约

Virgin Mary A Seed of Surrender 童女马利亚：如种子般的顺服

Gleaning at Dusk 黄昏拾穗
Praying in the Fields: Ruth Waiting for Boaz To paint Ruth is to pray: “Lord, where is my Boaz?” In the story of Ruth, Boaz is not merely a husband. He is the one who sees her, honors her, and restores her place in the land. So each brushstroke I paint is an act of yearning. Each color carries the hope of being noticed, known, and embraced. I am not merely painting Ruth—I am painting every woman who has stooped low to gather grace in a foreign land. Every woman who, despite grief and displacement, chooses faith over bitterness, humility over pride, and silent courage over noisy despair. The fields are not empty. They are sacred. They hold prayers, longings, and the quiet strength of waiting. This is not a portrait of passivity—it is a portrait of patient trust. And in this sacred stillness, Boaz comes. My Boaz came in 2012. This painting is both memory and prophecy— a testament that faithful waiting is never unseen. 《田间的祷告：路得等候波阿斯》 画她，是我的祷告： “主啊，我的波阿斯在哪里？” 在《路得记》中，波阿斯不仅是丈夫， 他是那位看见她、尊重她，并恢复她在这片土地上位置的人。 所以，每一笔画下的颜色，都是我的祈求； 每一块田地的描绘，都是神圣的等候之地。 我画的不是路得一人， 而是每一个在异乡俯身拾取恩典的女人—— 每一个在丧失与流离中， 仍选择信靠而非苦毒、温柔而非自我、 安静而坚定等待的人。 田野不是空的， 它满载着祷告与盼望， 承载着等待中最深的信念与勇气。 这不是消极的顺从， 而是一幅充满信任的灵魂肖像。 在这片色彩与盼望之地， 波阿斯会来。 我的波阿斯，在2012年来了。 这幅画，是回忆，也是预言—— 见证那等候的心，从未被神忽略。

Conversation at Jacob’s Well Jesus and the Samaritan Woman雅各井畔的对话：耶稣与撒玛利亚妇人

The Bloom Ascends A Passage Between Seen and Unseen飞花归家：穿越有形与无形的门
“The Bloom Ascends: A Passage Between Seen and Unseen” 《飞花归家：穿越有形与无形的门》 ________________________________________ ✍️ 展览画册 / 线上画廊用艺术家陈述 Artist Statement for Exhibition or Gallery 在这幅画中，一只传统青花瓷瓶静静地立于中式红窗前，花朵却不再安于瓶中，而是悄然飞升。这不是一幅静物画，而是一场灵魂的象征之旅。 花飞出瓶，如灵魂脱离尘器，穿越死亡的门槛，归向永恒的家。这幅画创作于两位属灵母亲归主的日子，她们如飞鸟回家，成为画中无形的同在。红色木窗象征着界限，瓷瓶如同人的身体，而飞升的花朵，正是那不可捉摸的灵魂在时间与永恒之间的裂缝中飘起。 色彩在画布上轻轻流动，如圣灵之风穿越空间，唤起对彼岸的渴望。我试图用东方的形式语言承载属灵的经验，用抽象的方式描绘“回家”那一刻的神秘。 这不是一幅纪念死亡的画，而是关于永生盼望的画。它邀请你驻足、凝视、沉思——关于生命的本质，也关于你终将归向的地方。 ____________In this painting, a traditional blue-and-white porcelain vase stands quietly against a red Chinese lattice window. Yet the flowers do not remain contained—they ascend. This is not merely a still life; it is a symbolic journey of the soul. The flower rising from the vessel represents a soul departing the body, crossing the threshold of death, and returning home to eternity. I created this work on the day two of my spiritual mothers passed into glory. Their ascension became the invisible presence in this piece—like seabirds flying home. The red window symbolizes the boundary between the physical and the eternal. The vase is the human body, and the ascending flower is the soul, caught in that liminal moment between time and timelessness. Colors swirl like breath—like the Spirit moving across dimensions—calling forth longing, remembrance, and hope. Through an Eastern visual language and abstract form, I seek to portray the mysterious moment of returning home. This is not a painting about death. It is a painting about the promise of everlasting life. It invites you to pause, reflect, and consider the home your soul was always meant to return to.

The Seed in Motion 流动中的一粒麦子

The Covered Bridge for Beverley 贝文莉的廊桥
Each time I visited Sister Beverley, I crossed this covered bridge. In the winter, it was draped in soft snow; now, in summer, I crossed it once more—for her Celebration of Life. Perhaps it was the last time. I had long wanted to paint this bridge, and now it has become something sacred. It is no longer just a bridge, but a quiet witness of our love and connection. Painting it is my way of remembering her—forever still in this view. From her dining room, wide glass windows overlooked a peaceful mountain stream. Beside the stream stood a tall willow tree. After the ceremony, we gathered there and sang one of Beverley’s favorite hymns: “This is the day the Lord has made; we will rejoice and be glad in it.” That evening, the sky was ablaze with color—blue, red, and gold—proclaiming the glory of God. In that light, we lifted our eyes and looked to Jesus. This painting is more than a landscape; it is a bridge of memory, of blessing, and of love. 每一次探望贝文莉姊妹时，我都会经过那座廊桥。冬日里，桥上的积雪让景色分外宁静美丽。如今是夏天，我们来到这里，为她的生命庆典而来，或许这也是我最后一次穿过这座桥。 我早就想画下这座廊桥，现在，它已经与贝文莉的生命紧紧相连，成了我们之间爱的见证。画下它，是我对她最独特的纪念。 她家餐厅的大玻璃窗望出去，就能看见这条山间的小溪，溪边有一棵高大的柳树。生命庆典后，我们站在小溪边，一起唱起她最喜欢的诗歌： “这是耶和华所定的日子，我们在其中要高兴欢喜。” 那天傍晚，天边燃起满天彩霞，金红蓝交织，向我们宣告神的荣耀。在这光中，我们抬头仰望耶稣。 这幅画，不仅仅是风景，更是一座通往记忆与爱的桥梁。

《紫瓶：綻放的丁香》 「Roots in Violet: Lilacs Blooming Far from Home」
《紫瓶：綻放的丁香》 「Roots in Violet: Lilacs Blooming Far from Home」 紫丁香從一只典雅的紫色玻璃花瓶中盛放，靜靜地釋放芬芳。這只花瓶，原屬我父母，是1950年代的老物件。2018年我回國探親時，哥哥將它鄭重地交給我，說：「你把花瓶帶到美國去吧，讓爸爸媽媽的花瓶在異國他鄉陪伴著你。」它不僅是一件物品，而是一段跨越時空與情感的象征。 這幅畫是一個「家族記憶的容器」（vessel of ancestral memory），紫色的花瓶承載著父母的身影、過往的情感和未竟的對話。它是「自性」（Self）與「個人無意識」和「家族集體無意識」之間的通道。紫丁香的綻放，記憶與愛在新的土地上繼續生長轉化。 畫中的色彩並非只是外在的美感，更是內在情感的顯現。紫色是靈性的顏色，也是一種哀而不傷的溫柔。綠色葉子的生命力，如同我尋找內在安定的旅程。創作是連接，是我與父母、過去與當下、記憶與重生之間的橋梁。 這幅畫是一首視覺的詩，也是一封寫給父母的信。 Lilacs bloom quietly from a graceful purple glass vase, releasing their fragrance into the air. This vase once belonged to my parents—a vintage piece from the 1950s. In 2018, during a visit home, my brother solemnly handed it to me and said, “Take this vase to America. Let Mom and Dad’s vase accompany you in a foreign land.” It is more than just an object; it is a symbol of memory that transcends time and space. This painting is a vessel of ancestral memory. The purple vase carries the presence of my parents, their past emotions, and unfinished conversations. It serves as a passage between the Self, the personal unconscious, and the family collective unconscious. The blooming lilacs represent how memory and love continue to grow and transform in a new land. The colors in this work are not merely for visual pleasure—they are manifestations of inner emotion. Purple is the color of spirituality, evoking a tenderness touched by grief but not overwhelmed by it. The vitality of the green leaves mirrors my own journey toward inner stability. Through creation, I find connection—a bridge between myself and my parents, between past and present, between memory and renewal. This painting is a visual poem, a letter written to my parents with brush and color.

The Red Bloom: Portrait of Beverly Derr 《紅花在笑：Beverly Derr》
The Red Bloom: Portrait of Beverly Derr This joyful portrait honors Beverly at age ninety, adorned with a vivid red flower that captures her radiant spirit. Born in Hawaii and later living on a Pennsylvania farm by a creek, Beverly raised horses, chickens, a pink pet pig, and beloved rescue dogs—including a three-legged dog named Samson. Her love for animals and her fierce compassion shaped a life of quiet courage and wild joy. Painted from memory and affection, this piece celebrates not just her smile, but the legacy of warmth, strength, and tenderness she left behind. The red bloom is both tribute and symbol—a flourish of life that continues to inspire. 《紅花在笑：Beverly Derr》 The Red Bloom: Portrait of Beverly Derr This joyful portrait honors Beverly at age ninety, adorned with a vivid red flower that captures her radiant spirit. Born in Hawaii and later living on a Pennsylvania farm by a creek, Beverly raised horses, chickens, a pink pet pig, and beloved rescue dogs—including a three-legged dog named Samson. Her love for animals and her fierce compassion shaped a life of quiet courage and wild joy. Painted from memory and affection, this piece celebrates not just her smile, but the legacy of warmth, strength, and tenderness she left behind. The red bloom is both tribute and symbol—a flourish of life that continues to inspire. 我在 Beverly 九十歲時為她創作並親手送給Beverly的。那一天，我在她頭上插上一朵大紅花——她出生於夏威夷，晚年居住在賓州的一處溪邊農場。若要探訪她，必須穿過一座古老的廊橋——就像穿越時間，也穿越到她深情而遼闊的生命故事中。 Beverly 養過馬，養過一頭粉紅色、重達一千斤的寵物豬，也照顧過成群的雞。但她最愛的，是那些被遺棄的大狗——她為其中一只患癌的大狗「參孫」做了手術，那是一條只有三只腿卻充滿力量的生命，我也曾為參孫作畫。 她的生日是七月十一日，而今我想念她，畫筆在我手中成為紀念，永遠留存在她的靈魂與我的記憶之間。

Above the Rainbow: A Swing Toward Home 《彩虹之上：灵魂归家的秋千》
Poised between innocence and eternity, this painting was completed just before the artist learned of her stepfather’s passing. A little girl swings above a radiant rainbow, while a quiet blue door below opens to the mystery of death and transformation. Created through spiritual intuition, the image speaks of farewell, transcendence, and the invisible thread between heaven and earth. “Somewhere the soul remembers how to return.” 「灵魂记得归途的方向」 San Francisco, 2008 – painted the day before receiving news of her stepfather’s passing. 《彩虹之上：灵魂归家的秋千》 在天真与永恒之间，这幅画完成于画家得知继父离世前的前一天。一位小女孩荡在彩虹之上，象征着童年的自由与灵魂的飞翔；画面下方，一扇静默的蓝色之门象征着死亡，也象征着通往另一重存在的转化之门。画作通过直觉性的灵感而生，传递出告别、超越与天国之间那条看不见的爱之线索。

Vessel of Bloom: Where Soul and Life Converge To the Unborn Child, Brief as a Butterfly’s Visit 蝴蝶：紀念那位未出生卻被深深愛著的胎兒
Vessel of Bloom: Where Soul and Life Converge— To the Unborn Child, Brief as a Butterfly’s Visit A radiant bouquet bursts forth from an intricately adorned vase—sunlit yellow symbolizing vitality, memory, and inner growth. I received a call from a pregnant friend who had just lost her unborn child. In the depth of her sorrow, she gave the baby a name—Butterfly. In a quiet voice, she said: “She came and went, just like a butterfly.” That name stayed with me. And so, butterflies found their way into the painting, delicately etched on the vase, quietly carrying the presence of a life that was brief yet full of meaning. Through tears and brushstrokes, this work became a space for mourning, remembrance, and love. The butterfly is a deeply symbolic archetype—representing transformation, fragility, and the soul’s passage between worlds. Here, it embodies not only the fleeting nature of life, but also the tender and profound connections between mother and child, grief and creativity. This painting is no longer just about blooming. It is also about withering. It is about how fullness and loss can be held in the same vessel. And it is about how art becomes the space where sorrow and grace meet. Vessel of Bloom: Where Soul and Life Converge To the Unborn Child, Brief as a Butterfly’s Visit 蝴蝶：紀念那位未出生卻被深深愛著的胎兒 一束明艷的花朵從裝飾精美的花瓶中盛放而出，金黃象征著活力、記憶與內在的成長。 一位懷孕的好友打來電話，告訴我她剛剛失去了腹中的胎兒。在深深的悲痛中，她給未出生的孩子取了一個名字——蝴蝶。她輕聲說：「她來了，又走了，就像一只蝴蝶一樣。」 蝴蝶於是出現在畫中，成了花瓶上的圖案，承載著一個雖短暫卻充滿意義的生命。通過眼淚與畫筆，這幅作品成了寄托哀思、紀念與愛的空間。 從榮格的視角來看，蝴蝶是一個深具象征意義的原型，代表著轉化、脆弱，以及靈魂在兩個世界間的飛翔。在這裏，它不僅象征生命的短暫，也象征著人與人之間那份深沈而細膩的聯結——母親與孩子、悲傷與創造之間的聯結。 這幅畫已不再只是關於綻放，它也關乎雕謝。它關乎在同一個容器中同時承載豐盈與失落。而藝術，正是那片讓悲傷與恩典相遇的空間。

Fragrance of Winter: A Farewell Beside Mom's Bed” 《腊梅之香：病榻旁的告别》
Fragrance of Winter: A Farewell Beside Her Bed is a deeply personal work, painted in memory of the artist’s final days with her mother in Chengdu. In the winter of her passing, the room was filled with the rich, sweet scent of wax plum blossoms (lamei)—a flower that dares to bloom in cold, barren months, symbolic of inner strength, perseverance, and quiet grace. These branches were placed in a traditional red Chinese vase bearing the image of lion dance and embroidered ball, a motif rich with cultural meaning and ancestral spirit. From a Jungian perspective, this painting becomes a ritual image of the threshold—a visual expression of standing between life and death, presence and absence. The plum blossoms are archetypal symbols of resilient femininity, blooming even in loss. They serve as psychopomps—messengers between worlds—carrying the fragrance of memory across the divide between the conscious and the unconscious, the seen and the unseen. The red vase is not merely decorative. It is a symbolic vessel, holding not only flowers, but grief, legacy, and transformation. Its presence beside the mother’s deathbed marks sacred space. In Jungian terms, it embodies the container of the sacred feminine, the mother archetype whose departure signals a profound inner shift in the artist’s psychic life. Through color and form, this work holds the tension of opposites: the brightness of yellow blooms against the cool of turquoise, the vitality of red against the stillness of death. It invites the viewer into a liminal space of farewell, where sorrow and beauty exist side by side, and memory becomes both burden and blessing. This painting is a final offering—an act of love, of mourning, and of individuation. 《腊梅之香：病榻旁的告别》是一幅深具私人情感的作品，描绘画家从马尼拉飞回成都，陪伴母亲临终六天的心灵旅程。那时正值寒冬，母亲的病床旁摆着一瓶盛开的腊梅，花香温柔而浓烈，弥漫在那令人无法言说的时刻之中。花瓶是一只传统的红色中国古瓶，瓶身绣有狮子戏绣球的图案，象征着力量、吉祥与家族精神。 从荣格心理学的视角来看，这幅画是一幅阈限意象（liminal image），承载着“生与死”、“在与不在”、“哀悼与延续”之间的过渡张力。腊梅象征着坚韧而宁静的女性力量，在最严寒的时节绽放，如同母亲一生的坚强与静美。它既是哀悼的象征，也是心灵转化的使者。 红瓶不仅是装饰，它在心理意象中是一个象征性的容器，承载着悲伤、记忆、祈祷与转化。在母亲的床边，它构筑了一个神圣空间，仿佛“母亲原型”正在缓缓告别，让女儿面对一种深层的“心灵断乳期”，进入新的个体化阶段。 画面色彩对比强烈：腊梅的金黄与背景的深蓝绿构成生命与静止的交响，红瓶的热烈映照着那无言的离别。这幅画邀请观者停留于人生最难言的时刻——告别之中仍有美，痛苦之中仍有祝福。 这不仅是一幅画，更是一场爱的仪式，是画者为母亲所献上的最后一束花。

For Such a Time Esther and Mordecai 《为民族站立：以斯帖与末底改》
“For Such a Time: Esther and Mordecai” 《为民族站立：以斯帖与末底改》 Esther and Mordecai stand side by side, like watchmen rooted in the collective memory of suffering and hope within the Jewish people. The golden menorah shines brightly between them, symbolizing a faith that endures even under the threat of annihilation—just as Israel today holds fast to the unquenchable flame of spiritual identity amid the looming dangers of nuclear war and extinction. The fiery red background evokes not only the biblical story of deliverance but also the raging flames of current Middle Eastern turmoil. Suspended above them, the Star of David marks a people chosen—not to be crushed by history, but to stand resilient through it, still seeking unity and hope through faith. Esther’s crown and Mordecai’s wise gaze remind us that at every critical turning point in history, someone must rise for the sake of their people. Today, we are again called—to stand in prayer for Israel, that in the fire it will not be consumed, and under threat it will not be destroyed. ________________________________________ Prayer: O Lord, you once raised up Esther and Mordecai to stand in the breach for your people. Raise up intercessors again in our day. We pray for Israel—surrounded by threats of destruction, facing the shadows of nuclear war—let your light burn like the golden menorah, never extinguished. Keep watch over Jerusalem, until righteousness breaks forth like the dawn and peace flows like a mighty river. Amen. ________________________________________ In my work, I explore the intricate tapestry of heritage and spirituality, weaving together threads of tradition and identity. Each piece serves as a vessel, carrying the weight of history while inviting contemplation of the present. I am drawn to the symbols that resonate deeply within cultural narratives, such as the menorah, which embodies the light of resilience and faith. My artistic journey is fueled by a desire to reveal the profound connections between past and present, illuminating the stories that shape our understanding of self and community. Influenced by the rich traditions of my ancestry, I seek to express the beauty and complexity of these narratives through vibrant colors and dynamic forms. The interplay of light and shadow in my work reflects the duality of existence—joy intertwined with sorrow, celebration alongside remembrance. Each brushwork conveys emotion, inviting viewers to engage with the layers of meaning embedded in the imagery. Through this exploration, I aim to foster a dialogue about spirituality and the enduring power of tradition, encouraging a deeper appreciation for the diverse experiences that define our shared humanity.