Organic patterns and forms found in nature have an instinctive draw. The theory of fractal geometry; infinite layers of self-similar shapes repeated in every living thing, hold an endless fascination for me. Plants, feathers, skeletons; this enormous energy in nature influences my work.

The same way a plant grows following the path of least resistance, the quick gestures and simplicity of working with ink allows the law of least resistance to prevail as the ink finds its path across the paper. There is an immediacy to ink on paper, where every gesture and every flaw is readily visible. With this process, I work intuitively through thousands brushstrokes creating hundreds of small paintings. I then collate the work, tearing out images that work together. When I find compositions that intrigue me, I then delve into the longer process of collage, taking the time to digest the image.

When the composition is complete, like with Japanese Suiseki or a Chinese Scholar’s rock, each viewer has his own experience as new images emerge from the completed arrangement. The ephemeral quality of the paper and meditative aspect of the brushwork evoke a Buddhist mandala. I hope by viewing the work one is brought into this meditative dream state, searching for completeness and self-unity.