Ideas for my paintings come to me when I sleep and dream. When I wake up in the morning, I draw my ideas in a sketchbook, noticing the tension I feel between the material world and the dream world, between life and death, darkness and brightness.
My art begins here, with this dream notebook, as I search for opposing subjects and unifying objects. Later, I pull together different combinations of these initial sketches to compose a painting.
Originally, my art was representational with variations on the human form. In recent years, Iíve moved away from complex, structural detail toward fluid line and form, away from the concrete and toward the abstract. It is the dancing line, ambiguously interweaving figures and field, which compels me. Minimalist artists ó such as Jackson Pollock, William De Kooning, Franz Kline, Frank Stella, Mark Rothko and Rorbert Simthson ó inspire me.
My most creative moments arrive when I'm alone and feeling loneliness. That is when I paint. As I work, the figures in my paintings come to life. They listen to me; I have relationships with them, and we exist together. Because of these relationships, when I finish a painting I no longer feel alone.
As I work, I blend and unify Eastern and Western influences and techniques. Chinese figure painting and history are combined with Western abstraction and color. My compositions use abstracted human forms that are Western in appearance, but created with the brushes, papers, textures, and brush strokes traditional to the Far East.
Integrating the influences of East and West in my paintings is a lot like integrating my dream world with the representational reality of being awake. Both processes hold a tension, and possible resolution, in the outpouring of color, line, form and emotion as these materialize on my canvass.