Artist Statement 2012:
"Seeds of Old"
In my paintings, I will explore the idea of the “sacred technological seed” representing the seeds of the future. The connection humanity has with earth and feminine energy, is represented as a seed. The idea of a seed can represent a new opportunity, something to be nurtured, something with great potential, or something sacred. “Earth technologies” are cycles in nature that occur naturally in mother earth and are the reason why we exist here. The water, carbon, and nitrogen cycles are examples of earth technology. If we take time to appreciate and study these cycles, we can use modern technology to mimic these cycles and create a healthier future.
Ancient temples have been left behind almost like a dormant seed which can help us to understand our potential. Even today, the modern temples are places where people can form a community and celebrate spiritual culture. Anything from nurturing the earth through gardening, appreciation of connections, and the care and concern for others’ and their spiritual path are all practices of spirituality. All of these traits represent the feminine energy that has been dormant in past centuries. This series will depict the fusion of sacred spaces, temples, and earth technologies as such, I hope to plant the seed of fertility through my work exploring spiritual connection to the earth.
Artist Statement 2011:
"Collection of Light"
In the beginning there was light. It was more so like a white space asking to be filled. Then, like lightning, energy shot down and separated the light into islands. As the islands developed, they became unique and individual, however, being made from the same elements, and having come from the same source, they are connected. Each Island formed symbols to represent how they imagined the creation. From blue triangles, to red rounded squares, from yellow cross hatching, to green circle layers, their differences united them and contributed to their collective beauty.
Colonization though evolution established specific elements on each island, from redwood trees, palm trees and moss-like foliage, everything seemed to inspire new shades of green. As the cousins of green flourished, a new form of knowledge came to each isolated island, the culture of breath. To live, to grow, the reproduce and to die, this is the great teacher and the pattern of breath.
These living machines support the largest organism, which came from light as the ocean of energy. Reaching out to one another, bridges and pathways lead to the distant technology. The circuits of conduit, integrated in all life, began to extend and expanse far beyond individual purposes, towards the collective vision and future inherit in all organism. The symbols that once defined each island, formed the language that communicated across the expanse. Exponentially, the rate of energy and connectivity bounced and sailed, stopping at each place to gain and share knowledge, only to continue onward and carry on a deeper message. This is the creation story of my work, and the purpose that drives the message of my art.
A plethora of environmental vibrations transform through colors to expose the core joy of my work as I attempt to bridge my own concepts of power. One source of power is sold as a commodity, and the other is simply generated within living organisms. Sources to support our human needs, such as solar, wind, biomass, and nuclear, are found externally in our environment, and I believe are also indistinguishable from our oneness and inner light. The balance between these two realms brings us closer to our collective achievements for energy. I believe that finding ways to converge the ideas of art and science, nature and technology, and “us” as the environment is the purpose of my current work. The interweaving of nature-spaces and microprocessor components in my paintings create a colorful kaleidoscope of this fusion of a world we live in.
Artist Statement 2010:
My current interest is in the relationship between Silicon Valley’s native environment and also its technological developments. Through my research I have found reoccurring patterns in both geography and native plants. Patterns that are used by nature to guide energy like photosynthesis through leaf veins. The landscape of the Valley and the Bay Area can be seen as a tide pool or a womb, where life and energy rush in, accumulate, and develop exponentially. Influenced by the dense forest that surrounds me, I see the redwood trees as a competitive species; tallest of them all dominating, and closest to the sun. If one can’t grow in the shade of a giant, or doesn’t have the genetic stability to do so, then natural selection will takeover and ultimately decide fate.
The Redwood forests specific to the California coast reflect the conglomeration of computer companies that continue to reach higher up the economic food chain. Only those who create the next best design, discovery, or product will survive in Silicon Valley. Much like growth patterns of plants, especially their veins, the Silicon Wafer conducts electricity through patterns imprinted onto its wafer layers; all computer circuitry and energy functions in this way. Using patterns from the wafers and the native environment, I explore the unity of these two contrasting ideas, nature and technology, through a visual flora of patterns from both realms.
Artist Statement 2009:
My paintings are related to the natural world and depict a fusion of symbolic and cultural forms. I also draw inspiration from plant forms, mandala creations and patterns in cultural symbols that I’ve encountered through my experiences. I interpret these forms in my paintings through pattern, repetition and symmetry. These shapes and symbols combine and layer in a pictorial representation of a living, pulsing, and fantastical world.
In nature, cycles of growth and decay repeat and create patterns of life. If we examine the processes of life, we can find common ground with all living things. Plant and animal anatomy reflects symmetry in nature; and inspires my interest in symmetrical expression. I want the receding and expanding sense of organic shapes to pull me and evoke a sense of visual euphoria. My vibrations of color and an underlying symbolic pattern lend to this euphoria of sensation. The fusion of cultures is also a theme that I explore in my work. My recent study is based on Chinese and Celtic traditional art forms and symbols that trace the roots of my heritage and express a unity of ideas from the east and west. The celebration of several traditions and meanings is layered to form a visual expression of ecstasy and pattern in my work. I express myself through a colorful combustion which derives from my celebrating culture and nature.
I use a central composition as a constant theme to represent my need and desire for spiritual balance and symmetry. The idea of a “center” can be perceived as the nucleus of a cell, the foundation of a culture, the core of the earth, or a belly button. All of this imagery is interconnected and overlapping, pulsing as patterns in my work. The process of my painting is a spiritual journey in itself and inspires me to discover new ways of defining, understanding and perceiving myself in the greater world.