My art practice responds to impermanence, by making work that engages me further into personal experiences that I wish to hold onto, for a longer time. Impermanence is fixed. Impermanence is omnipresent. And yet, as humans, we must constantly remind ourselves of it, to make sense of this world. My daughter has been growing up, day by day, year by year, the same person, but in many ways a different and new person. I look for ways to connect my artist life to my parenting life, and sometimes discover new concepts and creative energy from simply being with my daughter. My art practice also considers identity, and how I see myself in a country where I live with a sense of otherness, despite being a fifth-generation American. To feel a sense of grounding and also to fill a cultural void in my western art education, I study the traditional visual language of my ancestors, and often employ their patterns and motifs in my work. My paintings and drawings feature the concept of impermanence, tracing my daughter’s early drawings into the work, and connecting them to the traditional patterns and motifs of our ancestors. In the Camouflage Net installation, I used kimono fabric to send pride of ancestry back in time to my incarcerated community who made thousands of nets for the US Army during World War II. In the stage installation for the dance work Ma, I responded to the performers expression of the ephemerality of dance by creating formal spaces of presence and absence. I approach my work, rooted in painting, while my media choices shift back and forth, from painting to its outermost parameters into installation. Since my media choices spring from the concepts of each project, my work might appear divergent. But the aspect of my work, that visually unites it all, is a geekery in formalism ingrained from my foundation in painting.