I have a special fondness for the paradoxical nature, mathematical precision and infinite recursions presented in nature. My architectonic background widened my perspective in the relationships between art, nature and its complexities. The direction in this series is constructed with archival papers with individual and interdependent layers cut by hand with a humble scalpel to mimic nature’s growing process.
This series also evoked a deep connection between my practice and the fundamental beliefs in Buddhism. Homeland Springs is a documentation from a personal journey within the Buddhist epistemology. The layers of paper cutting encapsulate the concept of different stages of enlightenment to finally emerge into a flower which represents ‘rebirth’ both in a figurative and literal sense.