China and Western countries like the United States are referred to as the East and the West due to their geographic distance. China is an ancient civilization, but has turned into a modern traditional country. Geographical concepts, concepts of time, and the concept of value have melded together, under the influence of global economic and technological strength in the region. In this structure, the East is often associated with the traditional, the old, and the conservative, while Western culture is often associated with the new and the cutting edge. As a result of Western cultural evolution, Eastern art, while being subject to its influence, also caught a similar cultural symptom: the main driving force for change only comes from the subversion of negative forces.
This is the emergence of a true fault in Chinese art. In response to this fault, the West has ignited the imagination and confidence of Eastern artists, enabling them to see the vitality of their own cultural resources and identity. Whether it is for self-criticism and the subversion of Eastern culture, or the struggle to carry out purely traditional cultural patterns, it can be seen as a response to this Eastern cultural imagination. This response indeed promoted the advancement of Chinese contemporary art at first, but presented the danger of there being one “cultural imagination of globalization,” a move away from China’s survival reality, and presenting a new style of drawbacks.
We as Eastern artists have to do a cross-cultural excursion, and look for the root cause of these things. In the "Western Debate ," we must reject the bitter chord , and gradually get rid of the shadow of the Eastern imagination to reconstruct an awareness of Chinese culture. Then we must adapt with a new consciousness to pass on Chinese culture, tattoos, and graphics in the form of re-structuring the contemporary Chinese tattoo visual system.