Two works from my ‘Protector’ series, Multiple Protector II (Red) (2014) and Form is Emptiness - Emptiness is Form (2014), carry over this sense of groundlessness. In traditional thangka painting, a formal grid system is used for the placement of a deity’s body in the correct posture. Without that grid tradition, the protectors are lost in a swirling vortex, trying to find their new form. Through this process, the chaos begins to subside; to be transformed into some abstract beauty, almost reminiscent of a Japanese ink painting.

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