I have always been drawn to the open-ended nature of landscapes and the multiple perspectives from which it can be viewed and experienced. In my recent body of work I have begun investigating the affect of modern devices on the way in which we interpret the spaces that surround us.

Using sumi ink and rice paper each piece is begun employing a chance driven process based on a traditional style of Chinese landscape painting. This method, the Pomo method, was pioneered by the monk Wong Mo during the Tíiang dynasty (618 ñ 906 AD). To this foundation I add various combinations of painting methods which include, but are not limited to, the use of acrylic paint, epoxy glazes and automotive paint to create a hybrid of Eastern and Western technique. With the addition of other elements such as the bar codes, binary codes and geometric shapes, the modern is persuaded to co-exist with the ancient. The combination of the abstract organic spaces created by the ink, and the more formal hard edged elements, helps me force a visual dialogue between nature and its filtration through technology. In doing so, I convey the ideas of censorship, diversion, and manipulation, which are ideas that I am continuing to explore.