I relate strongly to Chinese landscape painting refined by scholar artists who made painting and poetry embodying Taoist and Zen philosophy. They symbolize the themes of empty/full and non-duality, which mirrors my understanding of modern physics. My compositions contain layered memories and impressions from life. My landscapes represent the physical and psychological perception of space, place, and time that also derive from Western artists from Bosch to Dali. Fictional landscapes are a way to understand our private internal spaces, which are non-linear and emotionally charged. Human form intrudes into my landscapes, like a foreigner alienated from nature. Reconciliation comes from understanding.
I see myself as part of a painting tradition that existed before history. My painting process is a timeless state of meditation. Lines and points swirl and mix together jumbled up and spread out in my rhythm of application. Pigment skips, digs making marks. Layer on layer, ink and color flow, bend, start and end. Pigments spin off my brush and knife, populating the surface of my work, my mind – visions made material. Shapes appear, form, fade, and form again. Ambiguous forms loom. Memories awake in the corner of the minds eye. The safety of a cozy space, the fearful cry in the night, shadows shifting on paper and canvas. Life made manifest in beauty and the beast – opposite and the same – wed in pigment, ground and bound to a surface, exposed to be seen and absorbed by passersby.
BA: physics and MSEE: Digital Design – University of Colorado
BFA: Painting – USF