(text by artist)
The small-scale Kapok paintings depict the blood-red flowers which have fallen, splattered on the pavement, locked in a twisting and possibly violent embrace. Metallic surfaces sporadically invite us to approach and look both outwards and inwards. These attempts at self-recognition are undermined by the surface's unforgiving distortions. When one does examine the image, he will find abstractions reminiscent of bodily matter, in which details of kapok petals, bacteria-like organisms and disposable surgical gloves may be detected. Scattered on the floor, adrift and unstable, the kapok diaspora do battle with unknown elements as best they can, mirroring any struggles, aggressive interactions and determined protests which one may call to mind.

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(translated)
在這件小型畫作中，血紅的木棉散落一地，以暴力的形態扭纏在一起。反光的金屬促使我們的目光在鏡面內外游移，卻由於表面所反射的影像失真，令認知自我的過程變得更為含蓄。注目於各個圖像上時，觀眾所辨認出的抽像物質有木棉花瓣的細節、細菌一般的生命體、及即棄的醫用手套。木棉的殘骸在地上零落而又脆弱，抵抗著無法預知的因素，就如同任何會被觀眾聯想起的激烈掙扎與堅定抗議一樣。