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The Other Primary Colors


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.

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