In patterns, I look for meanings outside of their conventional function as ornaments on an object or surface; for many patterns also served a dual purpose not only as decoration but also as symbols. But those interpretations have been lost through the ages.

Patterns of a constructive nature—architectural graphs, weaving patterns, and city maps—are sources for my composition. Once I have integrated them into my work, I then add more shapes and elements to each painting layer, using acrylic paint and medium, to gradually “build” a cohesive picture that features different degrees of translucency.

In the physical process of painting, I follow more intuition than knowledge. I want to be in a place in my paintings where patterns are urgently needed on the emotional level so that narratives can be translated into repetitions and rhythms. In other words, I search for forms that have the power to replace anecdotes.

The expression of the work often comes from imagining something that has no physical presence, such as a sound, that resonates the theme in my mind. I follow the “something else” element until the urgency is eased. That's when I know that the forms have satisfied my emotions and the ultimate meaning has emerged.