my cultural and autobiographical—often intertwined

with social and political—identity. The grids, squares, and patterns serve as a vehicle for describing separation, interference, confrontation, and tension, as well as an underlying structure. The lattice or checkerboard-like structures that resemble a fence or a gate speak of a physical, psychological or cultural barrier that I have experienced since I moved to the United States. The rectangles are simplified but non-universal visual information that contains my personal and cultural perceptional experience.
Grounded on my belief that art can be a remedy to counteract the effects of social imbalance, I use asymmetrical balance of shapes, patterns, colors, and textures to deliberately create paradoxical spatial propositions. An organic, microbiological, or cosmological quality frequently appears in my paintings as a marker of personal and cultural memory and as well as a counterbalance to rigidity embedded within my paintings. I intend the gentle and tempting colors accompanying with wild and agitating elements to invite the viewers to the enigmatic mindscape where they see their own multi-layered images as reality.
As a Xennial who has had an analog childhood and a digital adulthood, I tend to make a painting that looks digital but still remains the materiality. While maintaining the physicality, my paintings where gradational colors are paired with textural surfaces chase the digital aura.
The tension and ambiguity between the micro and the macro, the interior and the exterior, and the illusionary and the material within a paradoxical space interrogates about what it is what we see. I hope to open up a larger conversation of diversity and coexistence in social context. My paintings allow the rigid structures to be the places of human possibility rather than suppression within these structures live anger, anxiety, playfulness, and hope, and the possibility.

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