I met Jiny Lan first on a voyage to Dunhuang in China, when we were both invited to the opening of the first International Art Expo on the Silk Road together with other artists.
On our first trip to the exposition halls an unignorable figure popped up in front of me: almost shaven-headed, dressed in a queer cap, strange shorts, boots, and an upended pink shopping bag, which had been converted into a blouse. She emanated great amiability, stretched out her hand saying she was Jiny Lan.
I took a look at the pictures of the exhibition and was first attracted by one that showed a big hand hovering above a landscape not otherwise specified. Was the hand on the run or did it dominate the events below? Perhaps it would give us a warning? It was a puzzling, appealing picture which could not easily be interpreted.
It was Jiny Lan’s work. For me this picture was one of the most exciting ones in the exhibition I told her and so we became acquainted to each other.