STATEMENT OF WORK

My work explores the juxtaposition of materials: from minimal shapes to thickly layered oil paintings, fabric-wrapped surfaces, and sculptural objects. Approaching painting from an experimental lens, I shift between formal restraint, abstraction, and play. 

This sensibility is shaped by my life in cities, especially growing up in Taiwan, where I spent time in stationary stores, ribbon markets, and birthday parties. I find these environments in New York, where similar spaces are filled with mass-produced goods laid out in orderly grids. Strolling through urban environments full of mass-produced goods has cultivated my practice of dérive or in English, "drifting," a technique introduced by Guy Debord. I collect ribbons, ornaments, fabrics, and sequins to blend them with oil and acrylic on raw or recycled surfaces like canvas, cardboard, or wood. There are no hierarchies between materials, each piece holds a significant role. 

The logic of each painting begins with a material and evolves from its manipulation. Lately, I’ve been building this system in my practice where materials become paintings, paintings become things, and things make space. I started building shelves, and thinking about grouping paintings into assorted compositions, which rebuild the relationships between individual works and sustain a generative world. 

Through this process, I build systems where materials become paintings, paintings become things, and things make space. Each work faces its own challenges and solutions while contributing to an evolving and generative world.