“As a self-taught artist, I realize and appreciate the fact that each day, each moment is another opportunity for me to learn something new and develop new and improved set of skills.
I have always been creative, even when I was a small child I can remember appreciating the special aspects of life. Throughout my life I have experimented in a range of creative designs. I have enjoyed many of these experiences and even more than that, I found my true creative passion.
My specialty is in designing original, handmade home décor with silk and natural materials. Many of my designs originated in nature’s nursery. When I find something new or unique, passions imagination takes over.
Some may call me a “florist” and many have branded me as “The Flower Lady”, but to me and those who appreciate my creativity, I am an individual whose hunger for creative passions is fed by my artwork.”
“My designs are not complete until I consider them to be a new masterpiece.”

JK

“what we do in life echo’s in eternity”

“what we do in life echo’s in eternity”

“What we do in life echo’s in eternity”

“what we do in life echo’s in eternity”

This series of works reveals my Chinese sensibilities in my approach to contemporary Western abstraction. My paintings hover between nature and abstraction, occasionally slipping into the reminiscence of a Chinese landscape.

Visual inspiration came from the ebb and flow of tides, calm pools, stormy seas, and the aftermath of rain.

My work is about imperfect perfections.  We live in a society that looks negatively on imperfections only to realize there is no such thing as perfect.  My work shows that imperfections can be beautiful and must be embraced.

“Damaged People” is a series of 6 installations (out of which I’ve selected the top 3) created between January-March of 2011, in Cluj-Napoca, Romania, respectively Wroclaw, Poland.
The artworks presented include close friends and well-known models.
I chose models in contrast to relatively unknown people because anybody can be famous, anybody can be damaged, no matter how good their life is.
The five characters represented have a strong, even contagious sexuality, as they are a result of our modern society, which inevitably revolves around sex.
Through these works I am questioning who and what we perceive as damaged, because apparently it may happen to anyone, regardless of background or current situation, and whether or not they’re actually damaged, or we just choose to question this based on what we think happens inside them.
People transform their bodies in sync with what they’re going through inside. When they exceed socially-accepted limits, they become damaged in the eyes of others, but also interesting to a few who are open-minded.
The artworks question making yourself accepted in a society that sees you as (mentally) damaged: being borderline anorexic, having most of your body covered with tattoos, visually exposing what you believe in, trying to be something you’re not, or maybe trying to show people what you really are and, because of this excessive sincerity, people reject you.
Regarding the installation itself, the need for branches is supported by wanting to project the inner self of my models outside of the canvas in an expansive and interactive way. I am trying to express the rebirth of a generation, of something new, and I want the public to take part in it by feeling a strong connection to the artworks presented, to the fact that they break the barrier between what’s depicted in two dimensions and what people see as their three-dimensional continuity.
The technique used, a loosely realistic charcoal drawing on canvas, is in opposition to the raw branches, and the characters’ interaction with them suggest borderline reality, questioning what we perceive as real (the drawings or their 3d projection and continuity).

These paintings are nothing like I usually paint – they were inspired by the tedium of day after day of rainfall here in the south of France during October and November. Designed to distract from the rivers rising and daily weather alerts. Plus using oils for the first time in years.

The Mental image in the body of the work deals with the processing of information and an attempt to explain the human mind.
The image describes the internal depiction and the representation of the individual and the group within each composition. The mentality of the object in the painting is received from data and a personal conception that comes from the movement itself.
The characters I chose to present have selected from a human circle that lives in the bounds of a definite and binding frame. Through the painting, I try to give another view, which is free from all claims and social fixation. The characters play a lead role in each of the scenes on the canvas, allowing the viewer an intimate and overwhelming dialogue into the characters and images.
Some of the works display figurative exhibitionism and a personal expression of the naked human body, not as an erotic gesture, but rather as a gesture to those artistic conceptual images that make up complex compositions, which only an artist’s canvas can support without exposing too much.
The works include motifs of images from both the Christian and Buddhist religious and spiritual worlds, which, in one moment, create intimate moments of ritual ceremonies where imagination is the limit, and, in the next, there is no limit to imagination