How and why my affinity for Asian culture started I cannot say. As early as high school, I developed a keen interest in the Far East. In college, where I studied clothing design, the philosophy and characteristics of Asian countries – especially Japan and China – fascinated me and had a profound impact on my work.

In the mid ’90s I was invited to join a small group of American artists to represent the US in China. The purpose of the visit was to meet Chinese artists and talk with them about our lives as artists in the US. We were just as interested to hear about their lives as artists in China. The trip revealed many things about the country and the treatment of its people.

When I opened Studio 126 in 2006, I wanted to find a logo to place on the artwork I envisioned creating. When I came across the Chinese calligraphy character for “hand,” it seemed like a natural fit. I have always worked with my hands and there seems to be a strong mind-hand connection in my work. I’m not always able to express myself when speaking with someone, so my hands start taking over, describing what I am unable to say verbally.

I refer to the logo as a “chop” and find it fits in well with the abstract shapes and textures of my Hanji pieces. There is a flow between the work and the calligraphy. The artwork comes first – then the chop in the corner.

As I’ve mentioned in many previous posts, I seldom listen to news during my time in the studio. But somehow (through osmosis?) I’ve managed to keep up with what’s going on in the world. The suppression of artistic expression in China is of particular concern. I think of the people in Hong Kong speaking up for what they believe and their right for self-determination.

Using Asian calligraphy and adopting a Chinese character for the signature on my artwork keeps their struggle in the front of my mind, and perhaps the minds of others who view my Joomchi artwork as well.