Geometry

I naturally put things even organic matter into lines and shapes. Geometry is a language that harmonizes with my senses. Geometry is an ancient language.  

Duality 

I don’t see oppositions as a polarity or antagonistic. I see it as a construct to a universal balance that sometimes defies our emotional  approach and reframes our rationality or logic. It becomes a simplicity in the collective, but is truly our complexity as individuals. This is where duality is quite psychologically in depth and its communication can be multi-dimensional. In art, complexity is my simplicity. 

 
Concept

I see everything from a design perspective, not because I studied it; but rather as an instictual approach to visualization and execution.  Like all things, I am forever a student. Design is geared towards solutions and finding an answer. Art does not need to give an answer or solution. 

Color

It goes into my other senses.  I feel the colors or associate colors with other elements. I did not realize how different I saw colors until I kept on being called to differentiate colors and their sequences. 

Perspective and Gradients

Perspective is always technically difficult whether design or art. It plays a huge part in the narrative and how it will interact with the viewer, and how you position yourself to the subject or story.  The way the shapes move spatially create a movement, fragment, connection and this is all a communication.  It creates a subject and sometimes that object moves away from the subject. This has to be executed well in a painting. 

Sketches

They are my duality. They are so fluid and free compared to my geometric style in paintings.  

Visages There’s a deep analysis on who we are. I have a strong identity within myself and its not becauseI have not questioned it, it is because I have destroyed, reconstructed it so many times within myself,  that it enables me to go into these tenets of individuality, identity, masks, culture, labels, and its entire sphere in a very open way. There really was a phase when I lived in Paris I was always asking who are you. I was in a constant state of observation and absorption. 


Masks 

The masks are very spiritual and at home, that’s the first thing you see. My grandfather carved the masks in wood. So I grew up with the embodiment of these masks as protectors and spirits of the ancestral world. My first mask painted was a version of myself. And I say it was a “version” but it was not the entirety of me. The collector saw herself in the visage. She had absorved something that would transcend between the line.  She loved it so much and kept going everyday to look at it, and I was fascinated by her interaction because she said it was her. I  was so detached from that version of myself already. I had “moved on”.So she became the artwork and I got to be the viewer.  That fragment of myself had already been reformed into something else. The person I was even as I painted had moved into something else. The next  mask went to Tokyo and the collector had made a note to say this brought him to a place of his past.  These stories and interconnections and weavings began really at the very first painting I drew.  I dismantled my individuality and having to declare it or even announce it. It is a visceral communication that also  belonged to others  because it existed within them and who was I to say this is not a story that you know?  The mask is architecturally a spatial communication. It is not a cover or some cultural possession, it is fortified by the cultural historical roots in which cannot be dismantled. I am removing a layered framework to dissect and reinforce its powerful mythos. 

Works on Paper

There is an importance of it being only 100.  I conceptually have thought about this. It is challenging. 

I lean. You lean. 

This philosophy I use when I work in partnership with institutions, companies, or other artists. If you suffer, I suffer with you. 
There is deep empathy, respect, and collaboration.