In my ink paintings and videos, images of my family’s dining room table, Chinese workers’ stools, mass-produced chairs, and their shadows become structures from which ineffable qualities emerge. What unseen residues are woven into my everyday surroundings? Daily objects carry stories and histories into and out of their place in the world. Embedded in this inquiry are implications that link my personal life to larger global and industrial conditions, benefits and burdens.
The fluidity of ink lends itself to a kind of restlessness that feels accurate to me – with it, I can imitate realistic structures and I can also convey the dissolution of form. I can’t separate the concrete from the unspoken so these qualities cling to each other. Making these works, for me, is a query into the psycho-social complexities and contingencies of living in this particular time and place.