"My works are not longer depictions of specific places, but rather echoes of nature and movement captured within a grand form.
With watercolor as my primary medium, I balance on the fine line between what I can control and the forces beyond my reach. It is a space where water and pigment alternately carve their own paths across the paper, and are alternately guided and given boundaries.
In this meeting of paper, water, and pigment, a dialogue emerges between my own creative drive and the forces of nature.
By working with large forms where the water can flow freely, I strive to capture nature’s inherent drama and stillness.
Within this stillness, the paradox between mass and void emerges. That which appears heavy is granted the ability to float freely—suspended formations, liberated from the laws of gravity and time."
I began painting watercolor and sketching early in life as a way of understanding the world.
Ten years old I went with my mother, who was an architect student, on a field trip to Italy. Her professor said sternly to the students:
- Shooting what you see with the camera is not enough. In order to understand your surroundings, their forms, and their volume, you have to sketch them. In that way, you will stop up, dwell on the forms and after a while, you will see and understand. Then you will remember. What you see in that way will be a part of you for the rest of your life.
This sank deep into my ten-year-old soul. After that trip, I have always had a sketchbook in my pocket.
For a long period, when I was working as a composer of music for theatre, I stopped painting. Now I am painting and sketching as much as I can.
And the professor was right. Sketching is helping me to see and understand the world in many, many ways.
