Between 1915 and 1917 the Russian composer, Sergei Prokofiev wrote a series of twenty piano pieces. While playing them for a gatheringof friends, the poet Konstantin Balmont wrote a sonnet which entitled Mimolyotnosti which Kira Nikolayevna would translate as Visions fugitives. Inspired by these dazzling miniatures, I have assembled a jewel box containing twenty individual felt-tip drawings on watercolor paper capturing

fugitive visions of China.

For a country that has of late been focused on the future, I have been fascinated by the search for a true contemporary regional language in traditional Chinese architecture and painting. The intricate and careful composition in relation to landscape and light has been a continual revelation, as evidenced by the Summer Palace on the outskirts of Beijing and vanishing water towns such as Zhujiajiao, known as the "Venice of Shanghai."

1915年至1917年间，俄罗斯作曲家谢尔盖·普罗科菲耶夫（Sergei Prokofiev）写了20首系列钢琴曲。诗人康斯坦丁·巴尔蒙（Konstantin Balmont）在一次朋友聚会上演奏这些作品时，写了一首十四行诗，题为《Mimolyotnosti》，基拉·尼古拉耶夫娜（Kira Nikolayevna）将其翻译为《瞬息幻影》。受这些令人赞叹的小曲的启发，我组装了一个珠宝盒，里面有20张用毡尖笔画的水彩画，捕捉到了中国的瞬息幻影。

中国近来一直专注于未来，我一直着迷于在中国传统建筑和绘画中寻找真正的当代区域语言。与景观和光线有关的复杂而谨慎的建筑作品就是一种启示，比如北京郊区的颐和园和被人称为是“上海的威尼斯”，正在消失的水乡古镇朱家角。