Having experienced both Eastern and Western cultures in our lives, we embrace both and meld East and West into our art. We add our personal stamps to make them more unique. In our paintings we have settled upon abstraction as a form because of the ways it shows a range of emotions that we can feel at any moment. Abstract forms can show more tension, rhythm, and movement. Abstraction reflects the feelings in the heart that are all mixed together in the interior. We feel that our ideas flow through when we paint abstractly.
In a broad sense, our paintings reference something real found in nature. The paintings are not direct references to what we see, but subtle. Just as we are aware of the omnipresence and the physical elements in the world around us, we recognize the similarities in the natural world. We bring in that feeling of nature as a reference, such as the air surrounding a mountain or water passing through a volcano. Acknowledging these elements of nature deepens our personal and emotional connection to these forces
Our Earth is so unique: its variety of life forms and incomparable beauty is an intricate and complex system that supports all of life. Plants, animals, microorganisms on earth and in nature are interdependent in the formation of an organic system.
However, with the fast growth of the human population, the rise of technology, the widespread pollution, and the manipulation of genetically transformed species, human-induced issues threaten all other living creatures. Many people think they can control and transform nature based upon their own will. They do not realize that these activities bring natural hazards and threaten humanity’s future and ecology. At this rate, environmental catastrophe is only a matter of time.
Our paintings demonstrate a variety of natural expressions of life. The paintings explore many abstract forms through an aesthetic similarity to marine animals, microorganisms, flesh, cells, and organs. We do not pursue the likeness of any particular creature; instead, our aim is to evoke the spiritual, sensory, and overall mystique of life. The paintings also show biological variation, which implies that biological variation is unpredictable and can carry risk in its adaptations. Our works encourage the audience to feel how the physical and biological world needs compassion, respect, and awe.
The ancient Chinese believed in the "Harmony of Man and Nature"—that all living things are connected in nature. Humans are but a link in this chain; we must live together and as part of nature in order to survive. Chinese artists use their paintings to express worship and respect for nature. They borrow the forms and characters of nature in order to convey their own inner thoughts and feelings.
Today, modern life acts as a cage. Humans are short sighted as they hurry about, chasing wealth and fame, and only thinking of their own survival. Landscape paintings open a window to this cage, allowing people to escape their daily worries and once again connect with nature. As an ancient Chinese saying goes, "Wisdom loves water, benevolence loves mountains". Our landscape allows people experience the formless eternity of time and space.
From the Chinese tradition, we embody the concepts of "Ch'i" and "Yun", energy and harmony. The flow of "Ch'i" is captured in the white, formless spaces of the paintings. The balance and rhythm of "Ch'i" leads to "Yun", or harmony.
We have limited the color in the paintings to the range of blue. Blue relates to air, sky and the flow of "ch’i". It also imitates Eastern Blue-White Porcelain. Traditional Asian painting uses black ink, and we often incorporate black in our blue style, giving an expansive sense and creating an air-like quality..
We also use complementary tones of red and yellow to show contrast and excitement. In traditional Asian painting, artists use a lot of white space, referring to an open energy and flow. It is also the connecting element between the fluid forms. With our use of white, we bring in a sense of openness and energy in the paintings.
Time and space are embodied in the weightless, formless areas of the painting, while the spirits of mountains and bodies are brought in to sharp, heavy focus.