I am a USA born artist working with the possibilities of paint layers and poured paints on my supports of canvas, panel and papers-- such layering and poured painting is also know as Process Painting. The formal possibilities of my use of color layers and tones, variety of paints and the resulting surface texture are achieved by varying the paint flow, paint run overlaps, and by creating flow interference, splash and splatter. I have an interest in the possibilities of both maintaining and breaking the hard edge. Close-up gives the vantage point of the pleasure of the painterly poured paint run intermingled with elements of patterning and the finer details of applied image transfers and Asemic writing built up on my support in a dense bricolage. Asemic writing consists of language-like marks unreadable as writing so as to straddle the line between the visual and the textual. My Asemic writing is informed by my formal language studies of Mandarin Chinese at the Chinese University of Hong Kong, China, and language studies at private language schools in Tokyo, Japan and in India. My stronger American influences on my Asemic writing reference everyday product package lettering past and present. My high contrast mixed use of Day-Glo to earth color compositions are responses to Asian and American use of color from ancient to recent Pop aesthetics. Color influences of Japan, India and China and the forms of the written characters of the languages of those countries, as well as those elements in other Asian countries I visited--Thailand, Malaysia, Singapore, Taiwan and South Korea--reemerge in newly abstracted and combined forms. Translucent and transparent overlays of color contain the opacity of the drawn stroke. In some of my paintings I work with my collection of large handmade Chinese calligraphy brushes. I abstract written language characters, cut up, juxtapose, and layer fragmented language signs together visually,--sometimes over, sometimes under poured paint, or sandwiched between the layers of my surfaces. In the image transfer elements of my paintings, I incorporate my own drawings photographically reproduced and printed on paper multiple times. Incorporating too, images from my camera--including outdoor night photography shots, and vintage b & w films I shoot capturing both the individual film frames and the overlapped combined images within frame transitions for use as image transfers. I also collect “found images” and have used images in my paintings that I've held on to for 7-8 or more years, printed to paper and used as acrylic image transfers on my supports. Subject matter for my image transfers tend to center around vintage film, holiday and other social symbols and iconography, and commercial product packaging. My daily painting practice yields surprisingly varied results per canvas or composition within the repetition of these techniques and recurring interests of form. Each painting contains traces of what is significant to me, the artist, --my personal progress, growth, shifts, changes, expansions, forward motion, accumulation of thought and work, day upon day, contained within the layers of my paintings, as form, color and texture merge in the spirituality of my abstract painting practice that proceeds from the context of ideas, beliefs and emotions.