I have always been receptive to symmetrical patterns and colour in nature. This has served as the fundamental material for my work. My sensitivity to intricate, microlinear symmetries in plants, insects, rock pattern, snowflakes, organic materials and many more personal objects and subjects became the basis for my work. The microcosm was my universe. The use of letters from different languages is then a logical evolution from my early microlinear work in abstract painting and drawings. Because letters are linear and represent sound-making elements in language, I wanted to present this in a visual, concrete way, like concrete poetry. By borrowing a letter or word from another language or writing system such as Japanese, Hebrew, French, Russian, Arabic, or Korean, I want to suggest the power and universal mystery that surrounds language. The connections between my abstract paintings and my work in different languages reside in their systems and the intuitive manner in which they are executed. The materials and the results are different but they share a core that is essential for me, i.e., repetition and the poetry of abstraction. The link between the paintings and the language work is that both are abstract. My work has a spiritual depth of continual movement and evolves into a visual affirmation of optimism and hope for a different and refreshing way of seeing and being.
Image courtesy of Simon Schluter