When the peaks of our sky come together
My house will have a roof.
                                    -Paul Eluard, Dignes de vivre, Julliard, Paris, p. 115
 
You can read a room, or you can read a house. Both are psychological diagram that guide artists in their analysis of intimacy[1].
 
The artist used the rooms and roofs as a context for her to explore intuition. The placements of the objects inside of a room or outside on a roof are arbitrary with no symbolic gestures. Jung, in “depths of the unknown:” intuition is our interface with the whole of our potential.2 She used intuition to achieve harmoniousness, using whatever ability she has, in the spaces portrayed. The result is a certain style: a precise depiction of objects using controlled color selection. Cocteau writes: “Style is the soul, and unfortunately with us the soul assumes the form of the body” in refuting the decorative encumbrance any work of art with style may face. These paintings are things depicted through a certain style that should be experienced, because there is no content in these paintings, but hopefully they will excite or captivate the audience. This is the most intimate way the artist can connect with the audience.

[1] Bachelard, G., Stilgoe, J.R., 1994. The Poetics of Space, Reprint edition. ed. Beacon Press, Boston.

Like a mass of condensed water vapor floating in the atmosphere, sound hangs in the air.
 
“Art is the game of extending our ‘shape of real’ without the necessity of present practical affirmation.”[1]
 
Paintings are static but musical composition (not on paper but in the air) is dynamic. Therefore, while the representations of the clouds are static, we invite the audience to imagine the dynamic and constant transformation of clouds as the sound atmospherically evolves around them. The dual installation of sound and images is intended to involve audience in multiple modes of participation, stimulating both visual and auditory senses thereby creating an environment where emersion is possible. Rather than the audience merely looking into pictorial boxes as an external examiner, we invite the audience to experience the visual images as a context for extending the shape of real through synthesis of their memories of shapes of real.

[1]  Irwin, R. Notes toward a Conditional Art. (J. Paul Getty Museum, 2011).

paintings of architectural landing sites for bodies

In these paintings, human body parts substitute, embrace, or simply float in the natural environment. I wanted to integrate the human body parts to multiple different environments some more natural and some more synthetic.

Reflective anatomy channels my work as an environmental engineer. Leopold once envisioned the idea of the “land ethic.” I wanted to create that idea, the idea of responsible, harmonious, and sustainable existence, using my imagination and relying on the audience’s comprehension of the human impact of economic self-interest on the land.

Organic geometry is more abstract with no moral quandary over human relationship to the natural environment. These paintings are self-exploration of identity. By abstracting our identity, expressed with body parts, through superimposition in the familiar but alien environments, I strive to depict the “consciousness immersed in the being of life (Hegel).

Light undulates, scatters, deflects, and reflects. Through this processes, our visible world constantly transforms. I developed these paintings in an effort to translate this processes as far as I could grasp them.

Light undulates on the rippling water. Light is silent in the mountain.
Light is granule on the bare canvas. Light glides on the gesso.
Light creates depth. Orthorectification removes this depth.
Light is aggressive when it is warm. Light is calm when it is cold.
Light is bright sun in the golden river. Light is veiled in the valley.