Wild Nature

My paintings could be seen as an experiment in synesthesia. I, the artist, am synesthetic. To me, every form, sound, number, letter, or person can be distilled into a color. Every thing has a color that it is bound to. Much of my synesthetic code is instinctive. Nature is green, as my painting Wild Nature so clearly expresses.

My search for the truest way—not only to represent nature, water, and wind—but to convey the sublime feeling of being immersed in it, of being alive, has led me to develop this pictorial technique in which I reject drawing and the literal representation of objects, favoring color as one of the most essential tools for weaving together a unified scheme of the many color fields that make up my works. The LED lights and golden spray are active participants in the scene.

I do not wish for the viewer to merely see nature represented; I want them to feel it. Nature is alive, it breathes, it shifts and transforms. The ultimate goal of all painters is to breathe life into their paintings. The LED lights in my works seek to do just that. The lights move, the painting comes alive. It becomes an animated form, hanging on the wall, gazing back at you, embodying a living amalgamation of color and matter.

This is the eternal quest of all artists—the visual composition of the soul. There is a direct connection between this pursuit and the contemplation of nature throughout art history. In the 17th century, this quest gave rise to landscape paintings of nostalgic visions or misty horizons. It is all the same pursuit: the representation of the self within the world