By observing the detailed strokes in the picture from a close distance, I found that last year, when I translated the work, I might have been too planar in focusing on combining decorativeness and abstraction. I may have neglected to convey the sense of atmosphere and the emotion that Klimt conveys in his paintings. So I re-translated and re-processed the painting, and I asked myself to improve the durability and readability of the painting, which came from an observation I made about some contemporary art paintings. I think that many paintings that are active in art fairs and exhibitions nowadays are lacking in painterly qualities, and they focus more on pictorial effects and decorativeness than on trying to keep the viewers stand in front of the picture for more time. At the same time when this idea came to me, I also rethought my previous works, in which I focused more on decorative and so-called "good-looking" effects, and I thought that this way of painting had limited room for upward mobility, so I decided to explore the painterly nature of my works more, and to study how to bring a painting to a high level, rather than pursuing speed and good looks. Therefore, I decided to explore the painterly aspect more in my works, studying how to bring a painting to a high level, rather than pursuing speed and good looks.At the same time, as a woman from a hundred years later, I am also very curious about what kind of dialogue I can have with women from a hundred years ago, from different times and backgrounds, through my painting. For example, in the context of contemporary art, drawing inspiration from contemporary photography, contemporary painting techniques, and painting techniques from classic historical genres, and combining them. I am also very curious about how I can translate the portraits of women from 100 years ago through the way of abstract painting in contemporary art, and how my work can contain contemporaneity. This is a learning and exploring process for me.