My artistic trajectory has been peculiar; a combination of backgrounds --both cultural and educational—have led my work into an investigation of organic forms and their interactions.

The paintings I have been producing can be called reductive: they attempt to capture some of the essential elements that –I believe—underlie artistic visual representation in general. At first the images appear simplistic but, I think, they encode for some fundamental human yearnings and concerns such as the fear of isolation, the urge to be contained and the fear of irrelevance. The images demand attention by standing front and center as protagonists of their own story of individuality.

The paintings evoke a sense of resolution, because the forms accommodate each other: the power mustered by each of the shapes becomes ultimately balanced by the overall opposition of the others. The careful crafting of the images -- their shapes and curvatures as well as the boundaries between them-- evoke issues of empathy and connectedness.

My process over the years has been strongly affected by my training as a scientist (Ph.D., Biophysics, U.C. Berkeley). I have approached art systematically by producing bodies of work and trying to analytically make sense of their messages. This in a way has resembled an archeological dig: the underlying layers of meaning have revealed themselves progressively.

This is not minimalism because depth and modeling are of maximal importance; it is also not symbolism because the forms are naturalistic. It is not strictly realism either as the images remain unidentifiable, and it is not abstraction as they are rendered realistically. I would call this work essentialist. It researches some of human experience at its basis, not in its cultural or historical details but in its unchanging nature.