I am interested in the process of painting, itself, and its connection to the processes in my mind; one dimension transforming into another dimension, the actual object of art. In this transition, my paintings acquire both their meaning and existence in the actual world. My works emerge out of random, abstract spills of paint and then advance through varied stages toward completion. The initial stage maintains a weightlessness and fluidity in my painting, enacting the motion as a manifestation of a feminine gesture without logical preconception. I then advance the process using a thin layering of paint together with drawing, amassing a greater emergence from a simple rule. It is a controlled process in its detailed execution. I see my paintings as drawings and vice verse. In some cases, I want painting to become an installation, leave the wall and scatter into the space. This synthesis with other media gives me more freedom to push the boundaries from a traditional understanding of painting. It is important for me to be open to various possibilities in my work; something akin to a scientific laboratory. The final result of the painting reveals itself through discovery. To represent the notion of the displacement of identity, I project a scattered and overlapping sense of time, which is past, now and future. I compose abstract and figurative fragments all over the surface using thin layers of acrylic airbrush paint, ink, gel medium and urethane on canvas and Mylar. This produces a space similar to a soundscape in music that is both translucent and expressive of a dreamlike quality of space/time. My painting should remain as a solid entity – a complex system: a unity of creation and destruction (a record of momentum in presentation and erasure). Each painting is a map of the imaginary, providing evidence of my internal reflection and memory of exterior contexts (virtual and natural). My sources of ideas are the instruments of information. I tend to incorporate ideas from contemporary, scientific hypotheses; one being that newly formed neurons are able to migrate throughout the brain to create new neural networks (Neurogenesis). I see this as a metaphor of my own experience as a foreigner, living outside of homeland – as a nerve cell moving between cultures (physically and psychologically). I use this theory for my work as an active agent since, as I paint, new cells and new synaptic connections are constantly being activated directly as a result of the process itself. Or putting it in artistic terms, my mind and the painting being created, with my hands and my body in motion, are felt as one and the same incidence of experience.