I use fighting forces between ideas and formal elements to birth an image. Creating with both two and three-dimensional material at once, I discover formal information and understand conceptual meaning. Because material becomes essential in my work, I propose different languages and voices through various ways of drawing and painting color and void. To provide a richer and emotional essence, I paint knotted subjects; yet drawing them with pen leaves a barer existence. Explorations within opposites punch out ideas and add competing complexities with the individual fighting social normalcy

Within my most recent work, connections of two opposing forces clash together to converse and intermingle. Personal and public relationships inform the individual and social normalcy for a visual lexicon. To propose the ideas of an individual, I paint complex knots. Still, these entities are bound with the residue of life (forgotten sentimental material) to form a freakish monster. For the knot’s context, white architectural environments propose hard perspective lines to elude emptiness within a man-made world of social normalcy. Because the raw knots are sensual, obsessive-compulsive objects, I draw parts of the knot to integrate a bare quality with architecture; it becomes a duel invasion of passion and blankness. Symbolically, the pulley is introduced to connect passion and void with its simplistic, organic tendencies upon mechanical functions. Each force binds together a rule of life’s propositions.

At the end, I look back in my childhood as my core artistic influences. Literature and artists help me break my own rules to unlock more possibilities. At the same time, my personal interests still keep me on track and gratified. I must allow all artistic functions to be adaptable and progressive, but my restrictions still force me to question reasoning, but develop valid concepts for the viewer and myself.