I create abstract landscapes , images that respond to my concerns of a hopeless future and of post nuclear predictions - reflections on present state of humanity , seeming progress and selfdestruction . Much of my work is a contemplation on personal feelings surrounding being unable to exist in such absurd environment . The diverse character of my works is a reaction on a surreal situation of a modern world that has been shaped by mass media , where anyone can create their own reality and portray this as images and words of ‘ truth ’. The different layers , shapes and techniques I use in my work represent the various versions of the ‘ truth ’. The diversity of chaotically ordered aggressive forms and vibrant colours , illustrate negative emotions - thoughts caused by impossibility of finding that ‘ truth ’.
LANDSCAPES ( Woodless Woodcuts ) are a series of digital art works that express my love of the natural world and provide a graphic visual diary of my travels across the globe . All of these images began as analog or digital landscape photographs . I have had a lifelong love of Japanese wood block prints . As a child , I was exposed to prints by Hokusai , Hiroshige and Hiroshi Yoshida . My mother ( born and raised in China and Japan ) had original prints by all of these artists which were on the walls of our New York City apartment from the time of my birth . I spent many years as a traditional and experimental printmaker , starting at age fifteen with wood and linoleum block prints . I moved on to stone lithography , etching , photo etching , photo silkscreening and cyanotypes . The toxic chemicals associated with these methods helped me transition into the digital realm . Photoshop saved my health and has been my digital darkroom ever since then . I have been using Photoshop since Version 2 ( June 1991 ). Most of these landscape images have been turned into a cross between woodcuts and photographs , though no trees were harmed in the production of these artworks .
I find is that there are multiple perspectives that appear - not even intentional - and the painting experience becomes a detective game where there is this relationship with the picture itself speaking back to me . This happened with The End of Time . When you turn it sideways , it ’ s a close up frame of the center of the painting . I didn ’ t do that on purpose and it freaked me out when I realized it . I started doing dyptichs and tryptichs because the paintings were telling me to connect them and it was again this two way communication collaboration . It is always a fine line of overthinking , and of devolving into telling rather than embodying . Between traces of accepted reality with the freedom that comes with abstract expression , I aim for the marriage of the 2 and it ’ s that fine line that actually defines for me whether the painting is finished or not . but am not always successful in this because it ’ s really hard and once you go over the line of over painting - which is over thinking something - then you may be stuck with a painting for 20 years trying to find what it is you are looking for .
In my practice the real-unreal relation is investigated at the point when this two worlds meet and mix in your mind . The moment of tension when they face eachother is the most interesting to me . This is the while when at the first sight everything looks fine , but you just have found something is wrong on this picture . Like it rains against gravity , water is orange and the trees crosses sky . To build such a situation , emotion and memory play a crucial role since they are connected both to real and unreal world at the same time . Especially memories and in particular the process and the result of remembering and forgetting things . I use the figurative representation in order to underline the abstraction . I believe the more recognizable the elements are , the clearer is the abstract situation they are part of . However , this is an constant looking for a balance , and that ' s why I like it .
Creating art takes me back to my childhood - that time when you admire water drops which sparkle in a sunny ray ; seek funny characters in a rug ; giggle over your puddle reflection and smile when a gentle wind tickles your cheeks . A time when you are happy-go-lucky , sensitive , almighty , and sometimes naive , but always genuine . I am an eternal child and art allows me to maintain this state of being . I love to be in nature - to hug trees , absorb astonishing color combinations with my fibers , to examine bird coloration , membrane of leaves , which is full of moisture ... I relish a beauty of a fruit pulp , a whisper of ocean sand , scents of forest … I ’ m a part of nature - Its disciple and the art tool . Every time I examine my finished art works , I am pleasantly surprised that they were created by me ! The Radiant Thread ,’ tells a story about an engrossing journey to my subconscious to find my mission on Earth . During the whole journey , I watched myself from the sidelines , immersed in my memories , and explored dreams .
Fine Art Photography for me is an amazing method of selfexpression and sharing the rich world of emotions with the viewers . Creating the emotional and unusual photographs , editing them and looking at the finished prints delights me ! My first goal is to create unique photographs , which let the viewer ’ s eyes linger on the picture . The second goal is the high quality of the image . All prints with smooth tones and rich colors are made with care in the professional lab which creates the highest quality professional photo products , including prints , canvas prints , metal prints , thin wraps , acrylic prints , wall displays , and more . Smart Flora is a photographic body of work that I began in the 2014-th , inspired by my love of flowers , beautiful lines , curves and textures of the flora . Besides of that I find inspiration in women ’ s portraits , soft and cozy daylight , interesting shapes , shades and pleasing music . The only instrument I use for creating photographs is my smartphone .