In these works on paper, the vestige of Modernism and repetitive commercial vocabulary gradually

became the context for rendering the mechanomorph as the damaged ego. I infuse purity of the

pictorial language and the impurities of material culture. The conceptual and morphological

deviations of the mechanomorph constitute my preoccupation in reconciling the seemingly

irreconcilable: concept and pleasure, emotional vulnerability and sensuality, and minimal and

maximal. I am interested in locating these elements across permeable boundaries through my

psychoanalytical reading of the eroticized machine, anime and its sexual representation, and

privileging the process of discovery through drawing.  The sense of ambivalence in my abstraction

connotes a kind of hybrid language, one that is in an open-ended process of translation and

construction of heterogeneous sensations.