“My style and art making philosophy are a collection of influences from experience in American graffiti, my studies in traditional Korean, Chinese, and Japanese calligraphy, ink painting, Ukiyo-e woodblock prints, comic books, and graphic design.
I lived in Seoul, South Korea for some time, and while there, I saw a structural connection between the written forms of English and Hangul through a shared use of vowels and consonants to form words. This realization, led me to explore the artform of brush calligraphy extensively. I found deep parallels between my experience as a graffiti writer and the artistic principles of brush calligraphy based in the Chinese character system. Both art forms use language as both a means of communication and identity, focusing internal energy to create either a finely structured mark or a spontaneous expression. These cultures have both been passed down through generations and have taken on great change based on when, where, or who has adopted the practice. These observations led me to experiment with my own artmaking to reflect the connections made in my studies.
I have developed a traditional calligraphy method using the English alphabet, but designed to emulate the Chinese character system. By studying Chinese brush calligraphy stroke shape and order, and identifying the line structure of the English alphabet, I have created a unique writing system that begins in brush calligraphy and can be adapted to typography and design.
My current work balances both the ancient and modern world through the use of text, illustration, and painting. I’m currently producing traditional calligraphy works, landscape and ink paintings, and manga comic style illustrations that also incorporate text. Conceptually, this current work speaks to a universal human condition within concepts surrounding change, connection, perception, identity, and self-actualization. Cultural connectivity is a huge component in my work, which I believe mirrors the social progression of our contemporary environment.”