Art arises from experiences rather than intellectual ideas. An essential knowing comes from a basis of experience through time and space. While expressing this substance of knowing (matter, elements, energy, existence, their qualities and subtleties) pure senses and feelings in the phenomenal realm follow a unilinear path, the intellect being naturally incorporated through observation and act of art making. I strive to express in my work the sense of connection to the timeless and eternal inspiration.

If society perceived through artists' sense-sophisticated mind, the act of art as a tool of extended consciousness would become clearly understood. To be an artist is not a matter of making objects (to sell) at all. What we deal with is our state of consciousness and the shape of our perception. Art can directly touch consciousness thus stimulating and purifying our minds and perceptions. Art is a direct examination of our perceptual processes. I consider art as pure form more than anything else.

My art form takes its shape in fabric, light and shadow. My works reflect characteristics of Eastern ink-and-brush painting and Western abstraction. In the studio I reference nature and science through refining perception and applied technology. New technology becomes old in time, replaced by newer one. Old and new, renewed and recycled all has meaning if applied in the meaningful way, creating work that reflects the spirit of time. Shibori is one traditional dye technology whose principal concept provides underlying three-dimensional shaping, texturing and patterning in my work, along with digital printing and thermoplastic technologies enabling new approach in textile printing.

The process itself gives a clue, which furthers the art's development. I begin with an intimate hand-manipulation of the fabric: creasing, binding, pressing, shaping, pinning and stitching. I achieve a quiet meditation through the repetitive motion while relying on a spontaneous and serendipitous articulation. The fabric is then put through an industrial process of heat compression and thermal transfer, simultaneously coloring and texturing the surfaces. Dyes are sublimated by heat into the molecular structure of the fiber. I pay careful attention to the quality of surface detail balancing physicality, gesture, and imagery often producing a three-dimensional quality enhanced by the use of light and shadows thus produced. A distillation of the total effect of the physicality of the surface, gesture, and the effect of light and air (intrinsically kinetic, sensuous, and expressive) in relationship to the specific wall or space contributes to the overall effect.

Fabric means to me more than utility. To explore the spiritual presence of textile art, I am currently developing a series of pieced composition in the form of Buddhist monk's ceremonial stole, called "kesa" in Japanese, originating from "kasaya" in Sanskrit. "Kesa" symbolizes a spiritual tribute for the grace that ancient fabric endowed to mankind, an important function of textiles than utility. Ritual vestment used for meditation such as "kesa" goes back in its origin to the time of the current Buddha, around 500 BC, India. Discarded fabrics are collected (symbolizing humility); cleansed and dyed with plants (symbolizing purification); cut apart (symbolizing detachment from the worldly possessions); and sewn together in darning stitches (as indication of prayer and devotion); into a vertical and horizontal composition, a design of levy in the irrigated rice field. Thereby "kesa" is to symbolize the teaching of ways to cultivate, economize and to live in harmonious accordance with nature. I interpret the meaning still relevant in my time and space.