Ink Work - Large Portraits
Large Ink Portraits - 2020-23 and ongoing
I grapple with the duality of my existence, caught in the liminal space between the familiar and the foreign. Through art-making I try to ground myself in a sea of uncertainty and loss. As an immigrant, there’s a haunting nostalgia for a home I can never reach. Brushstrokes and ink marks are a way to send this ache out into the world, a hoping that home will reverberate back to me, tangible, transformed and inviting.
In my role as a mother to mixed-race daughters, I often wrestle with the weight of my own experiences, filled with both pride and trepidation. I’m acutely aware of the myriad ways expatriation shapes identities, both mine and theirs. Teaching immigrant students, I see the flickers of confusion and pain mirrored in their eyes. We share a collective understanding, an unspoken bond formed by the shared scars of displacement. My art traces a personal journey, but its underpinnings are the broader societal issues of racism and inequity, of dominance and control, that define the world. I reflect on the systems of power that loom over us, casting long shadows on our lives and relationships.
In this series of portraits, I channel these experiences — faces from my past and present, like ghosts of connection that linger just out of reach. The stylistic contrasts in my work echo the tensions I experience: the push and pull between abstract chaos and figurative clarity reflecting the known and the unknown, the familiar and the stranger, the friend and the foe. These portraits, ink on paper, vary dramatically in scale, ranging from intimate 10 x 13 inches to commanding 42 x 60 inches. Some faces emerge boldly from the swirling ink marks, while others seem ensnared, struggling to break free from the web of abstraction.
In this tug between clarity and obscurity, I confront my own limitations—my inability to fully articulate the complexities of my identity and the world around me. My art, like my life, is a constant negotiation between longing and belonging, an exploration of how we can find meaning in a world that often feels dislocated and fragmented.
Medium/process for Ink Paintings
The paper used in both the Plant and the People series is called Yupo. It is similar to photographic paper before an emulsion is applied and it provides a very dense substrate that keeps the ink on its surface. I’m able to spend a lot of time, working horizontally, manipulating the ink. I use sponges, paint brushes, cottonwool, old rags and my fingers and hands to push the ink around. The paper is resilient enough to allow for prolonged work and can withstand quite severe scrubbing in areas that I want to return to a clean, white surface.
I use various water-based inks but mostly India Ink and China Ink. Both allow for reworking as they are quite slow drying. I use acrylic based inks in some of the colour ink paintings.