In Peking Opera face painting, the relation of the symbols and subject being represented are based on the culture of the Chinese people. As a contemporary artist, I want to transform the stereotypes in traditional art. This transformation itself is also a challenge to solidified concepts and an effort to modernize traditional art. When we look beyond the symbolic references of the Peking Opera face, red does not necessarily mean loyalty, yellow does not necessarily mean recklessness, and white does not have to do with villainy. “Mask” series is my attempt to reorganize, deconstruct and arrange these symbols, my attempt to change the meaning of these cultural symbols of opera. The final pattern presented can be interpreted as an individualistic value. This value deviates from the collective values centered on order and system. A face painting is a mask. Its very essence is disguise.