我接受广告和平面设计方面的专业训练，但从未被其商业性质所吸引，相反，形式和构成是令我着迷的地方，特别是将排版、字母和文字用作图像。我的艺术根植于平面设计和排版/文本操作。文字和字体让艺术构建非常有效，这得益于它们形式上的特质，其划分空间的方式，正与负的内在平衡，笔直和弯曲的线条/形状。文字和字体在沟通上表现出直接性。做出阐释或表达观点时它们比拼写出来更为快捷。我与中国移民工人一同从事建筑和木工工作时，开始学习中文，我为添加了一个全新的字体库感到非常兴奋。汉字的象形特点让沟通比纯粹的字母构成，这种完全抽象的概念，更为快捷，因为每个字都有含义。我最近的一些作品就是在探索，同时使用这两种书写体系，让它们作为设计元素进行互动，让中国文化和美国文化进行跨界，将传统的书写体系置于非传统的语境之下。

Though I’ve had formal training in advertising art and graphic design, I was never attracted to the sales aspect of the discipline, but rather, I was fascinated by the formal, compositional aspects, especially the use of typography, letters and words as images. My art is rooted in graphic design and typography/text manipulation. Words and letterforms make very effective art building blocks because of their formal qualities, the way they divide space, their intrinsic balance of positive/negative, straight, and curved lines/shapes. They also have a directness of communication. There are few faster ways to make a statement or express a point than actually spelling it out. When I began to learn Chinese, working with Chinese immigrant labor in construction and carpentry, I was very excited to add a whole new arsenal of letterforms. The ideographic nature of written Chinese can make for fast communication of simple ideas as a single character, rather than being merely a sound component, is a complete abstract concept. Some of my most recent work explores what happens when both writing systems are used simultaneously, interactively as design elements and the crossover of Chinese and American cultures, putting traditional writing systems in non-traditional contexts.