Chinese and Japanese calligraphy are fundamental to my drawing and painting.
The Chinese talk of ‘writing a painting’ and consider the written line to be superior
to the descriptive line. The former exists for and by itself, free to pursue
its own end, whereas the latter remains in the service of describing an object.
The abstract quality of the mark and its visual freedom is highly valued.
Chinese and Japanese calligraphy are fundamental to my drawing and painting.

When writing relinquishes meaning and scripts are defamiliarized, writing approaches drawing before they parted company.

I am fascinated by writing and man's abstract symbols of communication, for their life, expression and urgency to communicate.

With Love poems in my head and the touch of the brush I explore the expressive and sensual potential of the calligraphic line as gestural rhythm and motion of being.