當代作家西蘇（Hélène Cixous）說：書寫和素描繪畫，是「冒險活動雙生兒」。以素描繪畫方式呈現的文字，是符號圖像，而成就為畫；以書寫方式呈現的文字，是文字，也是圖像符號。自2006 至2009 年，筆者以〈文字‧繪畫〉之題在一份香港報刊發表了有關藝術與生活的文章，共計164 篇，探討傳統、現（當）代藝術創作與本土語境的緊密關係：藝術是從生活而來，藝術創作是對生活反省的呈現。透過書寫，筆者發展另種討論方式──二人電郵來回問答、重複、前後穿插的喃喃絮語──寫有關繪畫本源、藝術的純粹、在地文化政治、歷史感懷、女性藝術家、藝術的性別政治。對話是開放的、可發展的、可延伸的討論，旨在發展不一樣的流動的書寫的可能，如同當代哲學家伊利格瑞（Luce Irigaray）所言，在實踐「性別差異」。

Drawing and writing, as the contemporary French writer Hélène Cixous states, are 'twin adventures'. Words expressed in the form of drawing are in effect graphics of symbols. Texts expressed in the form of writing are scripts and graphic symbols. Under the title 'Drawing the Writing', I have contributed a total of 164 writings on visual arts and cultures to a weekly column in a local newspaper in Hong Kong from 2006 to 2009. I aim to discuss how closely related the making of traditional or contemporary art is to the local contexts: art comes from life and is the reflection of life. The writings cover areas such as the origin of drawing, the genuineness of art, local cultural politics,reflections on history, female artists, gender politics of art etc. Employing a mode of bilateral email dialogues and through fragmentary and repetitious accounts, I have tried practicing a different style of writing that can lead a discourse to be open, developing and extensive. Whilst discoursing on arts and cultures, my writing demonstrates the possibility of a different form of fluid feminine writing, or as what the contemporary philosopher Luce Irigaray claims, practicing the 'sexual difference'.