The Window Series was initiated in 2002. Why I chose it and kept on was that it naturally reflected my mind and spoke my heart. Now at least three aspects can be summed up: first, the conception of “Window”; Second, the psychological aspect of “Window”; Third, the formal representation of “Window”( 1. replica and accumulation of urban windows; 2. collective defamiliarization of mass images and the isolation of individual image).

　　Owing to an interest in the urban constructive forms and concern over people living inside, the focus has been shifted from numerous juxtaposed “windows” to each individual “window”. Many emotional states, such as sensitivity, fragility, detachment, vanity, and more commonly, indifference and melancholy, have been depicted via the concept of “window”. On the one hand, the paintings enhance the emotional aspect of concrete human image, which aims at representing the quintessence of psychological elements and images. On the other hand, they, more accurately put, attempt an analysis of modes of man’s inner world in the space, the complicated interwoven inner space of human consciousness. One is embedded in these inevitable and immutable states, and the daily, habitual and unconscious emotional displays repeat themselves with little variation, which have been represented as the “gazes” in front of the window. Of course, the spatial mode of “window” as a theme has an end of representing individual experience and visual requirements—psychological reality. This experience is truly personal and exactly what I want to put into my work, because artistic work should not only directly and indirectly reflect reality, but also constitutes a conclusive, modified criticism of social and personal psychological orientations.

作者：Cai,Guangbin