STATEMENT
I like to move between mediums and materials (ceramics, drawings, paintings, collage), because that allows me to explore different ways of rendering the 'Outside' in, and the 'Inside' out. Ultimately, all my work is about experience of perceiving -- a pattern isn't just an optical pattern in my paintings, but rather a process, a moment of its capture, an attempt to understand what that pattern does to me,personally. That is the root of my preoccupation with quality of porousness. The brightly colored ceramic boxes, for instance, that I glaze in primary and secondary colors (like cobalt, and canary yellow and brick red) are inspired by Josef Albers' color theories. In appearance, these boxes are solid and heavy, but in fact, because I used paper clay, they are hollow, light and permeable. Other cube-like forms that I create have no 'walls' at all, but are comprised purely of structural lines. Sometimes I use these line-cube-sculptures as ways of generating new drawing works on paper: I place them in strong sunlight, and, via the camera-less photographic method of Cyanotype, let their open-work filigree project new shapes that are reversals of the typical experience of figure-ground (the once-solid ceramic becomes white; the sunny space around it a deep, cyan blue). In this way, I take my studio process a step further: I like to think that my own work is making a drawing, by itself, that it is capable of creating and displacing its own space.
When is a shape or a pattern of sunlight or a color more than what it seems? In excerpting fragmented moments, and fastening them into line, color, and form, my work is looking for a way to pose and to answer such question.