It’s always been about light, shadow & negative space. The quality of light, the clarity or translucence, the hue or the lack of color, what it allows one to see or disallows the same, and composition, in both compressive & expansive modes, has captivated my attention since childhood. With that, the interplay of shadow is light’s compliment as well as the negative space within the whole composition. Whether the shadow is dense or slight, hard edged or soft, reflective of color, draws me into the setting. This is how I see the complexity of the subject, a certain rapport between the light & the shadow and negative space. Do they dance together or just complete the steps? My father was an internationally renowned watercolorist. As a young girl I watched him paint, and as I began to understand his craft I realized that despite all the beauty of his brush stroke, the bold use of color (his trademark), the gesture or implied motion, there was no shadow. This may have been the impetus for my study of how light and shadow plays such an important role in Western Painting. I would say that my Chinese background has imbued me with the value of composition and the definitive character of stroke, while Western training allows me to explore my world in oil, egg tempera, mixed media, charcoal & ink.