The Crown: Ascent II

Each painting is a path. On that path, I meet my truest self.

My work moves between two currents I have never wanted to separate: the inherited weight of Chinese visual culture — its mythologies, its classical poetry, its ancient symbols — and the immediate texture of contemporary life. I work in oil, layered with mixed media, building surfaces that hold history and feeling simultaneously.

The motifs that recur across my canvases — flowers at the edge of excess, animals in their sovereign strangeness, figures caught between intimacy and solitude, celestial realms pressing against the ordinary — are not decorative choices. They are questions about what endures. The taotie, that ancient devouring face, shares space with women in quiet afternoon light. Don Quixote rides through a landscape that could be dynastic China or somewhere entirely invented. I am drawn to these collisions: the moment a classical image meets a contemporary gaze and neither one prevails.

My years in fashion photography taught me that a picture is fundamentally a decision about what to hold still. I choose to hold still the moments of beauty that feel most precarious — flowers at peak bloom, the charged silence between two people, the threshold between the earthly and whatever lies beyond it. To paint is to insist that these moments are worth the attention.