I am currently exploring a brushstroke that is fluid and spontaneous, yet which retains an energetic and architectural structure within. I am interested in the fluidity of Honami Koetsu’s calligraphy, the way running script calligraphy transmits energetic variations that creates an architectural structure within the brushstroke, as well as the chromatic interactions in Joan Mitchell’s gestural compositions.

 

I use intuitive and spontaneous gestures to create the brushstrokes, inspired largely by dance improvisation approaches, action painting, André Masson’s automatic drawing, as well as Cy Twombly’s gestural writing. I am also interested in linear gestures, such as the horizontal blurriness in Gerhard Richter’s Matrosen (1966) photo painting.

​

Temporality 

In my painting process I am constantly searching for ways to reconcile different temporalities into the same picture plane. I find that a pure and spontaneous gesture may have the raw and impulsive energy, yet lack the meditative depth that we may find in Rothko’s color fields, or a certain consciousness that allows us to process the meaning of these gestures. As a result, I use different layers of time to make sense of the initial gestural brushstrokes, either through reframing, emphasizing or erasing certain elements with subsequent layers of paint, or by slowing down the spontaneous gestural brushstrokes with a more in depth and meditative layer of color.