Colors of Life gave me inspiration for the subsequent “Mask” series. It gave me a deeper understanding of the combined use of colors, lines and shapes in the art of Peking Opera. It also enabled me to better use these design elements I learned to organize a new artistic language. I didn’t limit myself in the 2-D realm. Later, I created works in three dimensions that are more dramatic and atmospheric. One of the characteristics of drama is that it transcends a flat surface. Like a stage, a work can become its own stage. When a piece transcends from two-dimensional to three-dimensional space, the effect it achieves allows the viewer to experience the work in a more multifaceted and holistic way. After Colors of Life, I started making laser-cut masks. The Gaze, The Big Red Bat and subsequent works are examples of how I expanded the concept of painting in the spatial realm. The wall serves as a substrate for the masks. These masks are caught between sculpture and painting. This is a new form of presenting masks. It explores how new aesthetics can grow from traditional art and culture. More importantly, the practice of making these masks has made me rethink my cultural identity and encouraged me to think about the semantics of symbols and their significance when existing outside their original contexts