As an immigrant, living “between both worlds” has almost become a catchphrase. Bridging the gap between cultures or at the very least, presenting it as an issue is inevitable. Contemporary Aboriginal artists face many difficulties in terms of identity and technology in Native Art. The same can be said about artists from third world countries, as well as any immigrant living in a technologically advanced area. Balancing both heritage and technological awareness is challenging. There exists a dangerous misconception that technology is synonymous to civilization creating many prejudices and in turn much debate and argument between cultures. A civilization should not be judged based on the totality of technological advancement produced but rather in relation to what people have created with the tools and material at hand

 

This duality is bound to present itself in my art making.

 

My concerns are with belonging and memory. It questions the notion of home and debates whether
it is in the physical or in the emotional realm.

 

I concentrate on architecture and on the decay of important monuments due to both natural degradation and human neglect while describing peaceful landscapes of deteriorating wonders. This creates an ephemeral world where past and present merge and fade into each other. Because these monuments are represented in their present state of decay but with the aesthetics of their past, it makes the viewer feel like a voyeur or an intruder, it can create an uneasy feeling as humans are inevitably responsible for the degradation of their own homes and consequently their own history.