I try to clear my head and begin each painting with no destination in mind. Lines and circles connect and move freely across the surface. Then I move from chaos to order by embellishing the lines with dots and colors that reflect the emerging theme of each work. Meaning emerges as I near completion of the painting. The results often resemble the very large or the very small, organisms on the cellular level viewed through a microscope, or satellite images of Earth landforms and bodies of water. Painting is how I connect to the world, large and small.

He is currently working on a series of paintings Paper Money. It is the reminiscence of the culture that he was born. In the first stage of the development, he extracts the abstract qualities of the depicted objects; reveals the primitive essence of the subject. The experiment presents the representational images with an abstract prospect. In these paintings, the object that he depicted is paper money, which is made to communicate with gods or underworld spirits in traditional Taiwanese culture. In the early period of the series, the paper money has been singled out from its ritual setting.

These paintings originate in an interest in the alchemical transformation of materials and the processes and forces that control material phenomena. I use a very specific palette, taken from a wide variety of natural sources in the landscape/environment, flora in particular: reflections in water, festering storm clouds, young fronds, sugar cane, exhausted foliage, flowers, lichens, soil. The colors, which I rigorously match, are blended on site. I take the samples into the studio, where I mix larger quantities of matched colors.

My latest work features large-scale, multi-panel paintings, each created on site over the course of an entire day. The intense wet-on-wet cumulative process underscores the complexity of capturing firsthand the multidimensional and ever-changing experience I have at that specific location. Formally, the works are as much about the materiality of the paint and the physicality of the painting process as they are about reconciling the illusionist possibilities of painting with its true abstract nature.

My paintings examine the visual relationships that mediate our experience, particularly our response to destruction. In Spillover, this refers to the ways human beings organize and shape the landscape to achieve foundations that are destined to fail. The paintings play with the perception of distance to bring abstract surfaces into being, and thus describe a space between seeing and knowing. Because painting possesses the unique ability to impart the illusion of moving space and a fixed impression of deep space, these qualities coupled with the geometry that orders our

A page out of a notebook, with its blue lines and spiral bound edges, is a familiar image. This is my primary vehicle in utilizing a connection with the viewer. The paper is enlarged to give this common object a sense of importance and to create a new perspective. The text and images placed upon the large page deal with the influences of American culture and how it has shaped my life. The paper is torn, crumpled and folded to implicate a tangible history and to suggest the creation of an object, thus expanding the definition of traditional drawing.

This series of disquieting allegories explores experiences accumulated during adolescence. While imagery and color palette are whimsical, the juxtaposition of visual elements suggest stories more mature in nature. Layers of meaning imbued with humor, solemnity, and sexuality filter through the images, but are not easily deciphered. The work is based on subject matter in both the realm of memory and fantasy.

I construct a world of human relationships expressed in cubic imagery. Of Cubic Proportions is a body of related works that explores geometric and mathematical ratios. Through proportional harmonics I generate interactions within the paintings that establish the scale and placement of the subject. I use one-point perspective, squaring of planes, and color juxtapositions to create the illusion of depth in some areas and spatial ambiguity in others. My chromatic relationships make use of complementary and analogous colors while eliminating black.

Incorporating fiber art in my studio has opened a direct path to the major influences that have been informing my work for many years. Motifs and images from ancient textiles and Indigenous folk art reimagined through these pieces connect directly to the source of inspiration. The work becomes a devotional practice and an expression of appreciation, adoration, and connection. These sources offer aesthetic forms to explore in search of a deeper personal and universal expression. They reveal to me a powerful tension between an innocent, beautiful naivety and our relationship with