Conclusion:

　　work from 1997 to 2000, I was able to continue to give a new meaning to my newly created work through changing the material and the theme while still using the same “wall sculpture” form. This form has adapted to my ever-changing self-being and to my living environment. Through discovering and using new materials, I have tried to maintain a continual sense of freshness and vitality in the creative process, whilst continuing to create new works in the same form. This form is characterised as both fixed and changeable, for I understand that my living environment as an external factor is ever changing and that I am constantly changing through the learning and absorption of new concepts and knowledge. Heraclitus, who lived nearly a century before Plato points out:

　　You can never step into the same river twice.

　　In today’s information era, it should be said that not the same person can step into the same river twice.

　　Not everybody has an identity or rather not everybody has a ‘fixed’ identity. Only the media can make an identity stick, and they only for a limited period. Fifteen minutes turns out to be rather along time, now that we’ve all got the hang of it.

　　The Complexity Theory has not only inspired me to create the “wall sculpture” form, but has also led to my applying the theory in my art practice, and it is this which is the most meaningful thing for me. In the creative process, I came to realise an important truth. That truth is: what is essential for an artist is not to create one or two or a series of excellent works, but rather to be able to find out a strategy, with which he or she can keep on using wisely. My interpretation of such a strategy may be defined as the discovery of one’s own set of rules in the visual arts, a set of rules demonstrating both openness and closure. Here, I may seem to be contradicting myself. The requirement for openness is so that inherent in the form there is both flexibility and capacity. The requirement of closure is to ensure that the conceptual interconnectedness of one’s work can be demonstrated, whilst the operation for producing the work can be controlled within a closed field.

　　The meaning of my work in each series of “wall sculpture” form can be interpreted in multiple ways. Each series can be seen as one single sculpture consisting of a number of fragments, or each fragment can either exist independently or join with other fragment(s) to from separate an independent works. There is a relative flexibility in the visual effect. This “fragments” form is suitable to various exhibition spaces. The word “snake” might be used to describe this form of my work.

　　With the inspiration of the Complexity Theory, I have analysed the creative process of the “fragmented wall sculpture” form and the production process of my three series of work in this form. My analysis is made on the process of how I have combined the theory into creating this art form according to my living environment and conditions. This might be the best option during this period of my history, but might not be the best strategy for me in the future. Regarding a variety of possibilities for my future art career, I will change and adjust my strategy from time to time with an attitude of openness and tolerance. This attitude might be the most important point I have learned from the theory of Complexity.

　　* * *

　　Why have I selected the title “From Painting to Wall-sculpture”? It seems that such a title chosen for my research paper is conservative. In the history of the visual arts since the early

　　0th century, human beings not only broke down

　　D, but also made an enormous amount of exploration and innovation in all art forms. All boundaries in art form were overridden. In the early 1970s, it was even that: thought that nothing new could be discovered. However, the visual arts has not been eliminated and still exists in the lives of human beings, or, in other words, it is still of value and relevance to keep on creating and promoting the happenings of contemporary art. Every artist develops their own art with a particular strategy and tries to make their art vibrant and dynamic, according to their own specialty, identity and contemporary art “context”. The case study of my self-being has sought to make a review and analysis of the process of my transformation from painting to “fragmented wall sculpture” to enable me to gain a better understanding of the relationship between the visual arts and myself, including my living environment today. Therefore, I have made no attempts to explore the value of this art form, or, the significance of my transformation from painting to wall sculpture. In the late

　　0th century, any reform and innovation in art form itself is not an issue to be solved in the visual arts, or even more to the point, an issue as such will not be explored within the visual arts in the

　　1st century. What I have attempted to achieve through analysing the process of changes in my art form is to try to explore a contemporary art issue: how a visual artist can adapt to the advances of science and information technology in the society we live in. Through appropriation and adaptation, an art form is more dynamic and breaks down the attitude that the exploration in the visual arts is the exclusive domain of some academics or a special group of power brokers in the art world of asociety.

　　My attitude towards contemporary art is evident if people understand my artistic development through reading this paper. I expect and also appreciate an art form that can involve a wider range of people, and that can be understood and accepted by more people. This attitude is not instinctual, but originates in my own rational analysis of future social developments and the constraints prevalent in the visual arts while at the same time being informed by Complexity Theory and Taoism.

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　　Appendix Curriculum vitae

　　1958 Born in Tianjin, China

　　1989 Arrived in Australia, has citizenship in Aust

　　Education

　　1999-00 Enrolled in 2 year Master’s course at Sydney College of the Arts, (Sydney University)

　　1980-84 B.A. Fine Arts (print media) at Central Academy of Fine Arts, Beijing, China

　　1975-78 Art higher School Certificate (Internal design) at Craft High School of Tianjin, Tianjin, China

　　Exhibition in Australia

　　2000 Group Exhibition, National Gallery of Australia, Canberra

　　2000 Thinking aloud, group show at Ray Hughes Gallery, Sydney

　　1999 Two from One, Solo Exhibition at Ray Hughes Gallery

　　1999 Outside/Inside’99, The Sir Hermann Black Gallery, Sydney University

　　1998 Culture Graft, 4A Gallery, Sydney

　　1998 To the Wall- and Back, Span Galleries, Melbourne

　　1998 Group show, Ray Hughes Gallery, Sydney

　　1997 IN and OUT , Contemporary Chinese Art from China and Australia, in Singapore, The Exhibition touring to Melbourne, Sydney, Tasmania, Queensland, Perth, Camberra in Australia, Shenzhen, and Beijing in China, 1997-2000

　　1996 Solo Exhibition in Macquarie University, Sydney

　　1995 3x3 Art Exhibition, touring Australia, New Zealand and Germany

　　1994 Sulman prize Exhibition, Art Gallery of Sydney

　　1993 The Alternative Wynne Exhibition, S.H Ervin Gallery, Sydney

　　1991 Twelve Contemporary Chinese Artists, University of Sydney

　　1991 Solo Exhibition, Barry Stern Gallery, Sydney

　　Documentary Production

　　2000 Video documentary Song Zhuang, Artist, Spring Festival.

　　Exhibition in China

　　1989 Exhibition of painting by Wang Zhiyuan, China National Museum of Fine Arts, Beijing

　　1988 Exhibition of Chinese painting, Art Gallery of Tokyo, Japan

　　1988 Chinese Large-Scale Oil painting Exhibition, China National Museum of Fine Arts, Beijing

　　1988 Exhibition of Sketches by teachers of the Central Academy of Fine Arts,

　　China National Museum of Fine Arts, Beijing

　　1987 Marching into the future, China National Museum of Fine Arts, Beijing

　　1986 B.T Five-person Exhibition, Gallery of Central Academy of Fine Arts

　　1985 Fine Arts from China, The British Museum

　　Grants

　　2000 Project grant, Australia Council for the Arts.

　　1996 Project grant, Australia Council for the Arts.

　　1995 Project grant, Australia Council for the Arts.

　　Publication

　　1999 Sebastian Smee, The Sydney Morning Herald, June 29, 1999. Page 15

　　1999 Binghui Huangfu, New Observations, In and Out, Spring 1999

　　1997 TAASA Review, Sep, page 20

　　1997 Zelda Cawthorne, Herald Sun, Arts and entertainment, 18 July Melbourne

　　1997 Claire Roberts, Art Asia Pacific, issue No 15, Page 92

　　1990 Sun jingpuo, China oil Painting, Jan 1990, pages 17-22