我觉得它们好像是我的孩子，是我把它们创造出来，但有时它们却离我先去。这跟我小时学画时觉得人可以死去但艺术会永存的概念有了冲突，使我着实感慨生命有时是脆弱的，艺术也会是短暂的。当年刚回到故乡上海展出我的艺术，对于有人找上门来叫我画画，我便视之为一种成就，特别是给公共场所画画，更觉得自己的画能让更多的人看是种幸福。我却没有想到画出来的这些“公共绘画”是有生命的，它们的命运是和这个社会，和这个社会的变化发展有着息息相关的联系的。

　　在上海这样一个高速发展的社会里，别说一张壁画，就算有100年历史的老房子，说拆也就拆了，儿时曾和小伙伴一起玩耍的后街也可在瞬间化为乌有。虽说如此，一想起我曾很过瘾地画过那些画，这些大壁画因我来到过上海，曾给公众带来过惊喜的时光而满足。重要的不是拥有，而是创作的过程。公共艺术让我觉得它会有被无视、被废弃的危险。但我还是会去做的。

　　我深信，也许因为这张壁画曾经给过上万人中的某一个人某一个灵感或某一段美好的回忆，那已经是一个miracle(奇迹)了。

　　I think of my paintings as my children. They are my creations. However, they have disappeared before my own time has come. As a child, when I was learning to paint, I believed that while humans perished, art was eternal. Today, my beliefs are different. Through my public art, I have learned that, like a human life, art too can be fragile and transitory. When I returned to my hometown of Shanghai, I felt a sense of accomplishment when I was asked to paint, especially to paint public works. I felt fortunate to be able to share my work with so many people. I had never imagined that these public art pieces were alive, that they were part of this society - part of its changes and its development.

　　In Shanghai’s rapidly developing landscape, hundredyear-old historical buildings and nongtangs filled with cherished memories can disappear in moments Public frescos are even more temporary. This being the case, when I think of the surprise my murals brought to the public and the satisfaction they brought to me, I realize that what is important is not their immortality, but rather the creative process that birthed them.

　　My public works might be neglected or abandoned, but I will continue to create them — because even if only one person in a thousand is inspired or touched, it is a miracle.