White, Black, Grey
My paintings draw from the powerful Asian aesthetic that lives in me, a striving for serenity in a world inundated by input; conscious acts of eliminating the unnecessary so the necessary may speak. It's said that my work seems to glow with inner light. That isn't accidental: each piece grows from as many as 30 layers of transparent oil glazes that give the surface a muted luminosity and depth. In the deceptively limited palette--in the freeing choices of monochrome--we cast off the excuses of color and resist the urge to wrestle vibrancy onto the canvas. In doing so, we discover a muted thing that lives deeper in the soul. This principle of Shunyata; of dwelling in emptiness.
To me, this quiet, immersive energy creates an anti-angst; a seductive, visceral breath. Within those still waters, shapes, circles and gestural graphite lines create a harmony of opposites that delivers us into an image without a beginning or end. In the end view, this benevolent softness becomes a relinquishing of control by painter and viewer alike; one that lets us interact with the work in any way we want, with no strings attached. From the immersion in light and the depth beyond the strict boundaries of canvas, comes a particular state of grace: a transcendency that renews itself endlessly in the eye, and challenges our ideas of what a painting can be.