Artist Statement

In my paintings and sculptures, I construct biomorphic forms that fuse elements of the human body, animals, and plants, using dots as building blocks. These forms exist in a state of continuous creation and dissolution, emerging from and receding into an ephemeral, transparent space. Each form is composed of the same essential units, reflecting how all matter arises from identical subatomic particles arranged in ever-shifting configurations. I explore the tension between structure and fluidity: areas of precisely applied dots coexist with passages of thicker, looser, more gestural passages of paint. My use of color aims for a sense of vibrancy and luminosity akin to stained glass.

Recurring fractal patterns—particularly those found in neurons, tree branches, and river networks—inform the development of my forms. Their presence across vastly different scales suggests an underlying continuity within the natural world.

Spatial configurations in the work draw on art historical and architectural references associated with transition and transcendence—from Renaissance depictions of ascension and mythological realms such as Olympus to the keyhole-shaped doorway in Islamic architecture, representing a portal between the worldly and the sacred. The motif of dots traversing gaps between forms draws on The Creation of Adam.

While my work is primarily abstract, the biomorphic forms suggest figuration and are arranged in shifting relationships that imply narrative. These configurations are intentionally open-ended, inviting viewers to construct meaning through their own perceptions and experiences. Movement is central to this language, with ballet serving as an ongoing source of inspiration.

My work resonates with artists who create abstract forms inspired by organic elements, including Eva Hesse, Lee Bontecou, Louise Bourgeois, and Ruth Asawa, as well as with practices of aggregation and accumulation seen in Howardena Pindell, Yayoi Kusama, and Chun Kwang Young. I am also drawn to Flora Yukhnovich’s contemporary re-interpretation of art historical motifs.

My process begins with pencil drawings, followed by small studies on paper in gouache and acrylics, which are then developed into larger acrylic paintings. I also translate these ideas into sculpture, using acrylic-painted cork spheres, which function as three-dimensional equivalents of the dots.