He places slices of his life experiences that belong to different time and space onto the same surface. It gives rise to a feeling of half awakening and half asleep. The touches are emotional, the signs dreamy, and the apparently old colors speaks of sadness.

　　In the beginning of the 90s, he abandoned the powerful political totem employed by his contemporary avant-garde artists. Instead, he managed to record and rearrange personal experiences and thoughts. After that, he expressed his personal feelings with "doodling" that turned pieces of memory into a sign that transcended appearances. The style is neither Chinese nor western, neither ancient nor modern and is a little sad. It is somewhat like a monk who travels through cultures, races, status, locations to find a legend that suits his own taste in the here and now. Since year 2000, Ye has taken the bird hidden in the "Free Chaos" series apart and enlarged its size. Such picture is simple but spiritual. A modern minimal style and the cultural traces of Chinese calligraphy coexist. It is philosophical as well as poetic.

　　 "A work of art is either a trap or a lie. I hope with a rational approach I could have an alternative way of thinking on the form of impromptu and randomness." A lonely journey to far-and-away places sharpens Ye's feelings toward loss of familiar ways of doing things and environmental changes. He doesn't follow the flow in the contemporary Chinese art world, running after others. He insists on moving ahead of his time. Confidently, he writes down his history as a migrant with his unique style.