technique used for my paintings is a combination of watercolor, sumi ink, gouache, and frisket. Usually I begin with
watercolor, freely painted. I then create a second dimension
of pattern by masking the surface with frisket. Additional
structure emerges through the application of sumi ink. Finally,
I use gouache to augment and adorn, until I have achieved
the desired effect.
My paintings begin with a visual idea or feeling. I find that
the first versions of a particular idea generate their own
variations organically, so one piece builds upon another.
Thus, early paintings in a particular series become important
sources for the paintings that follow.
I regard my paintings as a physical expression of the underlying
interconnectedness of all things. Sometimes I feel as if I
am making visible the hidden structures that lie just beyond
ordinary perception. As a visual artist, I am conscious of
a paradox: if there is a beauty that transcends the senses,
our only access to it is through the senses.
As I build my images, I am aware of my indebtedness to a wide
range of cultural traditions. In Japan I was exposed to time-honored,
sophisticated uses of the decorative arts. African masks,
textiles, and baskets have sensitized me to the interaction
of pattern, surface, and texture. I am emboldened by the luminosity
of color in Thai silks and Indian embroidery.
I have also been visually and technically inspired by Aboriginal
"dream paintings," which demonstrate the abiding
significance of content even in decorative abstraction. These
and other multicultural influences, which I embrace as part
of our common planetary heritage, continue to nourish my work
in conscious and unconscious ways.