A glance at my 2001 work will immediately reveal a dramatic difference in my approach to the open canvas. Previously I have been preoccupied with the process of addition to create a visual archaeology and deep space, I am now engaged in a process of subtraction. What is the least expression of visual language that I can use to explore space, form and color relationships, and composition? How can I refer the viewer to an environment beyond a two-dimensional space? Before I worked in layers, building a visual complex. Now I am looking to reveal what is behind the canvas, removing paint surfaces to allow inherent forms to emerge.

I still work with acrylics and without a brush, but now I use water to manipulate and adjust the surface. The opacity of my earlier paintings has been exchanged for liquid and fluidity. Colors bleed and merge, they are stopped and surrounded. Color and form become synonymous as they stain the surface.

The paintings are quiet. Form and color are arrested in silence on an open and opening field of canvas. The stasis that I sought earlier is not being achieved through a stillness. An East Asian sensibility is still evident. It is the focus on what is not seen but rather what is referred to, that is important here.

The paintings engage the eye and the mind simultaneously with the aim of leaving both in a state of lyrical tranquility.

September 2001