I was born in China, although I hardly remember the difficult Mao years--however, they might have made me realize the value of freedom. Later I moved to Hong Kong and started doodling on textbooks, hanging out on the Colony's delightful tropical beaches, and listening to rock and roll for spiritual initiations.
Upon moving to the USA, I worked my way through a succession of painting styles, from realism to surrealism to geometric abstraction, before developing a unique figurative expressionism with archetypal subject matter that reflected my own spiritual evolution. After a series of exhibitions, I eventually managed an art gallery for a collective of artists. Meanwhile, to pay my bill I did airbrush and engraving style pen-and-ink for the advertising industry. In the beginning of the digital revolution, I mastered many digital design tools, and then eventually received an international grand prize for 3-D graphics at the annual Seybold Convention. I gained unprecedented publicity through news articles and magazines worldwide, and was recruited to create market-leading video games for major multimedia corporations. After a four-year stint, amid the Internet bubble, I became a creative director of a teen oriented web site. Then I moved on to building a Buddhist art business online. Now I paint for no one and without any purpose-- just playing with colors and light between the four-corners.
After two decades working on visual communication for businesses and keeping up with endless technical innovations, picking up my brushes and painting is the easy part. The real challenge lies in renewing my conviction to champion a personal ideal of fine art, which is basically a spiritual problem more than an artistic one. For that matter. I simply decided to paint the women I adored without restricting myself in the means of doing so, other than feeling and conveying their characters with utmost honesty. Soon it became obvious to me that outside of a general appreciation of their aesthetic values, the subtle complexity in these paintings could be comprehended only by a few discerning eyes. Influenced by my readings in Jungian psychology, I began to explore the portrayal of the universal feminine archetype in the "Daughters of Kali" series. I found that the challenge in these paintings is to balance the reason of its imagery with the inference of its form. To separate sensationalism with an essence of conscience in aesthetic, and to reveal a qualm of truth within the visual metaphor.