My work is influenced by Modernist painting in form and Eastern Philosophy, particularly Buddhist emptiness, in concept. In Buddhist emptiness, nothing possesses inherent existence; everything is dependent on its parts, on causes and conditions and on the mind. This concept plays out in the reciprocation between the background and foreground and in the interconnectedness of the work’s elements. Layers, lines and dots are distinct but none is more important than another. By using carefully chosen relationships of color and shapes, the space in my paintings appears deep while at the time it contradicts itself and the picture plane flattens; as shapes push up against each other, both deep and shallow space appear at once. I allow the paint to be expressionistic in some areas and controlled in others. These seemingly contradictory aspects of the work point to a non-dualism and the idea that we ourselves are fluid, ever-changing, and without essential essence. I complete the connection with a visual give-and-take where opposite forces are interdependent.
The shapes in my work allude to recognizable things but exactly what they are cannot be pinned down. They are not non-objective works but they are also not abstractions of anything that can be identified. The paintings themselves are empty of inherent meaning and therefore can be interpreted in as many ways as there are viewers.