My paintings depict an ever-changing fantasy world where blood clots, rainforests and coral reefs collide and intertwine.   Each piece functions as a man-sized porthole into a landscape alive with minute details, firing synapses and interlocking systems.    This is achieved through the use of perversely careful mark making and the creation of tiny minutia--details that eventually combine to create larger, overarching systems that define the whole painting.   I work with ambiguous shapes that could function as elements in radically different environments in the real world--a scabby circular shape becomes a marsh object covered with barnacles, a white blood cell, a cratered moon.   Thus, the real environments of reefs, rainforests, outer space and neurobiology are smashed together to create one incongruous whole.   I introduce a new context to these elements, and through my exploration of their relationships, incite a subtle tension between them.

            Hence, although my pieces create imaginary environments, they allude to the real world in an attempt to realize another and are impressed upon by very real concerns.   Racially and geographically incongruous myself, my paintings glory in the ambiguous, the chaotic and the rambling.   Recently, my work has incorporated forests of birds, swarms of cell or moonlike objects, and long, knotted strings.   Similarly, I often begin pieces with Sumi ink brushwork and incorporate traditional Chinese composition and dimensions, but combine this foundation with elements drawing from microbiology, graphic design and natural history.   These themes make up the details in the environments I construct in each painting, but they also describe a sense of rootless-ness, culture, biology, and personal history.