About the Artist

The Meaning of Art 

Art for me is a representation of spirituality, a medium as a temple is to a god, a source of inspiration through unconscious prayer to the presence of the concentration of cosmic force; art then seems not to be a product of the self, but rather of another force, which is also the self and everything else and nothing. Beauty, its eternity, and its engraving into memory are powerful tools of influence upon the mind – so theoretically, if etchings channeled from the cosmic force are set down upon a page, they will mirror the image of their power to influence the mind of the viewer consciously, subconsciously, unconsciously, and in a cosmic direction, to aid the viewer with a sort of knowledge towards his or her path of life.

I have loved art all my life, and my art has accordingly evolved over this time. I have been to modern and traditional museums in Asia, Europe, and America, expanding my realization of beauty and also of its power and omnipresence among societies and the world. I enjoy using many different mediums, such as oil and acrylic paint, charcoal, watercolour, and mixed mediums. The primary source of my ideas for my artwork lies in my meditations, dreams, trances, emotions, visions, the unconscious, and pagan symbols from study of mythologies through literature of the Norse and Celtic peoples, of occult sources, and of Tolkien, and sometimes I will draw from life as an additional source of inspiration. The energy of black metal, drowsing, groveling, horrific cries of suffering and worship to a background of a misty distorted guitar drone can be most immediately related to the energy provoked by my art.

My work is mostly concerned with the transcendence of delirium into the spiritual. Its purpose is mostly to pursue the worlds of illusion through trance to expel worldly, conscious attention and thought and influence, leaving only the state from which visions and expression truly and purely flow. In my art, this expression comes in the form of surrealistic, animalistic, natural and fantastical images of creatures and landscapes – transcendence becomes imaginable. My work further demonstrates this idea by using organic strokes portraying the naturalistic images and maintaining a seemingly ancient origin, expelling the material world even in expression. This way, as contemporary life is distorted to haggard images of half humans, of rituals, and of nature, illusion becomes a dominant theme. It focuses on the constant, divine balance between darkness and light, and the essence of desperation and purity, a paradoxical beauty that comes from the overwhelming neutrality of this balance. My goals are to mainly pursue the management of the ever-influential propaganda that is the perception, of images through art; art to provide people with a lasting emotion or feeling directly, subliminally, or otherwise to thereon nurture their path of life, through their perception.

Two contemporary artists that have influenced my art, or at least welcoming inspirations are Zdzislaw Beksiliski and Ursula von Rydingsvard. Beksinski’s interviews reveal that he uses the unconscious on a regular basis when he paints, channeling masterpieces of abstract surrealism, such as floating personified castles and apocalyptic black-haired girls on skeletal horses. Ursula’s sculptures conjure similar thoughts through her abstract amorphous shapes of wood and other natural resources, influenced by distress of the times of World War II, she suggests a macrocosm through natural beacons that bewilder and belittle the onlooker. Both of the artists’ distinct, though thoroughly, mystically, and masterfully vague messages that are invoked in the viewer provide me with an inspiration to provide such a strong message in my art also.

I have dealt with a long-term illness during my teen years. Through the many doctors’ waiting rooms, my living experiences in Hong Kong, Singapore, and London, and my travels to places like Vietnam, Cambodia, and Thailand, I would see children with little or no hope for a healthy resolve and with far fewer worldly goods than I; yet seemingly at peace and visibly happy. This noble stoicism was ineffably inspiring. I found that through playing the piano or blowing into a flute, I not only could learn to control my energy rhythms and breathing patterns, but that the rhythmical sequence of tones could serve as a sound prescription for the health of the soul, soothing, and refreshing, compensating for the inadequacies of modern medicine. I discovered that through art, I could express on blank paper what was deep inside of me, inscribed images channeled from a seemingly unconscious dimension, giving me hope and comfort. Art, for me, became a representation of spirituality, and a medium of inspiration through unconscious prayer. Rather than being a product of self, it is at once a transcendence of reality into another dimension and an omnidirectional conduit of insight, views, pain, enlightenment, resolve, and hope. Through the venting of emotion and worldly consciousness, I found I could reach a sense of blissfulness and a steady peace of mind that could repel the black hand of disease that had grasped my health. My illness, the journey in search for an answer, has had a profound impact on the person I have become, making me stronger in my beliefs, compassion, and maturity, solidifying my resolve to take on life’s challenges, teaching me not to expect an easy road, and fueling my passion for expression.

My diverse background availed me to insight and training in art from teachers with different perspectives. I believe I would bring something unique to MICA, and would contribute to the MICA’s community and art program. MICA would provide a stimulating environment, complete with mentoring teachers, a proven curriculum, a vast network of artists, a student body that is as driven as I to strive to perfect their talents. From a classroom perspective, my schooling at schools such as ASL taught me the value of close working relationships with teachers and students and the inherent benefits of collaboration and constructive critique. From a campus perspective, my global experiences fit well with the diversity of MICA. From a greater community perspective, my background simply does not allow me to regard art as an inbred subject that only builds upon itself and is self-contained, but as the byproduct of a multitude of experiences and perspectives to be shared with the wider community. I know that there will be inimitable opportunities for personal and artistic growth at MICA defining my style as a person and an artist and availing me the pleasure to share my passion for the arts with the local community and beyond.

The Meaning of Music

My first piano tutor in Hong Kong sat patiently beside me as I learned to read music, almost before I learned to read words. Soon the notes on the page easily became notes on the keyboard and the methodical lessons and hours of practice provided a foundation upon which I built the following fourteen years. Due to my family’s many moves and my illness, I have had some inconsistent training over the years, though I have had the opportunity to study under a variety of different personalities and techniques. With each new tutor came an enhanced method of study and extra challenges. Realizing early on that I have perfect pitch and an ability to read music and memorize a score quickly, my abilities seemed to be best suited for the intellectually stimulating classical piano. Practice became second-nature as I realized that it was the only road to aligning with the intent of the great composers and performing the function of each note with an awareness of the design of the movements—this was my pathway in pursuit of their voice. Throughout the years, I have performed piano for recitals, competed in local and regional divisions, studied and tested in theory, and have recently accomplished the Grade 8 Piano Level of the Associated Board of the Royal Schools of Music. I am currently mastering the Diploma Level of the same. Whether in the privacy of my piano room, or my tutor’s recital space, or while on a large stage, I enjoy performing and sharing the tunes of the masters. I have learned and memorized a great amount of Baroque, Classical, Romantic, and Contemporary literature, all together bringing me an understanding of what it is to have a trained repertoire. I continue to enjoy playing classical piano and am constantly excited to learn new songs of such a classical, refined origin.

Over the years, I have taken about four years of concert flute, played in three different school bands, been tutored under a symphonic flutist in Singapore and have been one of the youngest to qualify for the All-State Texas High School Band. While the embouchure is somewhat different, it was natural for me then to excel at the Irish flute and I enjoy sharing the music of the legendary Celts. Thrilled to be able to play classical, Irish, and other types of music with my musician brother, I continued to pursue proficiency with other instruments, such as uilleann pipes, bodhran, guitar, accordion. Discipline, aided by a healthy blessing of talent, is required to excel in any instrument. I find that my passion drives me to remain focused on classical piano, with other instruments as a hobby.

Pursuing music in a college setting will immerse me in a stimulating environment, offering me a plethora of opportunities to pursue my passion. For example, I am excited to attempt to master the harpsichord and organ, perhaps as a primary mode of study. Focus on further understanding of theory, harmony, counterpoint, expression, techniques, and history is surely a paramount virtue to the complete musician. With the esteemed UW Music Department leading my training, both in performance and academically, I know I will be positioned to challenge and augment my talents as well as firmly entrench myself in the music network. The interchange of love and knowledge of music with my peers and, certainly, my teachers will surely not satiate, but rather intensify my desire for growth, perpetuating a lifelong commitment to this ineffable facet of culture and tradition, to aid in its cycle through eternity.

Contact: [email protected]