My pieces are colorful forms influenced by my interest in patterns, geometric shapes and shadows...graphic...yet free flowing...creating three dimensional feelings through the use of bright acrylic paints, epoxy, chunky textures, glass, paper, sand, nails, metal and smooth as felt finishes.

My work is exploration in space, time trajectories, and holographic illusions of multiple dimensions. Topographic utterances. Not wanting to create labels that direct the viewer, I prefer that the images take the viewer into their own particular vision. I like the border of the figurative with the abstract.  The openness of possibilities other than the dimensions we conventionally operate in. Although I have only a pedestrian understanding of the math and science of physics and cosmology; I am fascinated by the ideas and theories that those disciplines are exploring. I am astounded by the astronomical images of the great telescopes, Hubble, Spitzer, Chandra x-ray.  For me, the scientific quest for a Unified Field Theory mirrors the human spiritual quest for enlightenment, grace in the understanding of what is not. It is an exploration of entropy, the process of erosion, the nature of time.

I am interested in making sensory, evocative paintings. Guided by instinct and sensation I explore the language of color, its formal and emotional qualities. Irresistibly drawn to the luscious physicality of the paint, I employ a super-saturated palette, smooth glossy texture and fluid movement wherein the formal elements yield to the sensuous nature of the composition.

The work is process driven, a tricky balance of intention versus chance. It is an experiment in mark-making: between the unpredictable behavior of the materials and the idiosyncrasies of my gesture. The nature of the medium necessitates all decisions be made in the moment.  Through a spontaneous application, I puddle, pour and flow the loopy swirls, pools, drips and strands of color across a flat surface. Continuing the investigation, I wait to see if and how the paint will respond.

These pieces are simultaneously awkward and alluring, imprecise and slick. In them, I seek to create an ambiguous situation where familiar yet elusive biomorphic forms both imply and defy a narrative. And so, allowing a space for the work to continue unfolding beyond the initial visceral experience.

Emulating Nature: Color and form becoming. Endlessly evolving...

I am interested in exploring the relationship between what is felt and what is known about the reality we occupy.  To depict that space where science and myth, intuition and fact overlap. These paintings are based on observations of nature and meant to touch on that intuitive sense that we are all made of the same stuff. Constantly transitioning in an endless cycle.

My process is to use surface and color to play out natures process of creation and evolution, its continual transference of energy, on the canvas. Each painting is a unique geography that takes on a shape of it’s own through palette, solid color spaces, dripping paint, and texture, blurring the lines between painting and sculpture.

Machines for Living

Constructed Sculptures by Paul Baker

The Swiss architect Le Corbusier said once “a house should be a machine for living”. In fact, we could all use different sorts of machines, depending on what’s going on in our life at various times. My Machines start with an archaic definition of the word, as an aid or helper. A lever, for example, was considered a machine by medieval masons. The interactive sculptures in this ongoing series are built to help us examine our lives with insight and possibly some humor.

Autobiographical in its nature, my artwork is the tangible result of emotional responses to philosophical investigations.  The images arise as I challenge myself to gain a better understanding of myself through addressing and re-evaluating core values and beliefs.  While seeking out personal truths I confront the unanswerable questions of human existence and attempt to come to terms with the reality of life's impermanence.

Like many people, I was recently laid off. Thus leaving me many hours to dedicate to my photography. 

I love being outdoors. My images represent the serenity and tranquility that are important for my survival in this crazy fast-paced city of San Francisco.

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Designing & painting over 15 years. I work in a pure aesthetic style with interests in the Pattern & Decoration movements. My unique praxis, explores positive cultural concepts in humanity. I offer the viewer reflection through a conceptual abstract colorist palette. I nurture & share my artistic technique & discipline. My artworks are tools for transformation & give voice to positive issues. My muse is colorist photography. Conceptually, I produce refreshing, uplifting & insightful cultural manifestations through art, design & technology | a transmedia discourse.
What does it mean to celebrate beauty, whimsy & joy as we reshape our world? My annual collections focus specifically on positive reflections. art & design.

Lian Ng started his career in 1990 as a graphic designer in Seattle, Washington. Past employers included design agencies such as Hornall Anderson Design in Seattle and Cahan & Associates in San Francisco. Since 2000, Ng has freelance for design firms such as Character, Turner & Associates, Turner Duckworth, Eleven, as well as in-house art director for Restoration Hardware. Throughout his career, Lian has worked with brands such as Starbucks, Levi’s, Kohler, K2 Skis and Nike. His experience ranges from print, packaging, retail graphics to environmental design. Ng’s work has been recognized internationally and is in the permanent collections of the San Francisco Museum of Modern Art. His work has been published in both trade and consumer magazines, including Communication Arts, Type Directors Club Annuals, ID Magazine, Print, How Magazine, as well as books such as Paper Perfect, Paper Craft and Tangible. In addition to his wide range of professional experience and clients, Ng also runs an online store—Publique Living. As of 2009, Lian has started to revive his interest in the fine arts, specifically in print making, such as screen printing, letterpress, intaglio and relief printing, as well as sculptural ceramic.

Influenced by his background in both Mathematics and Computer Science, Lian Ng’s art and design often incorporates mathematical algorithms, as well as typography or architectural references. His interest in pattern generation based on a given set of criteria has been a recurring theme in his art, often resulting in works that show elements being expanded and manipulated to create systems where the whole is greater than the sum of its parts. Ng is also fascinated by the naturally recurring pattern, or texture, that is non-repeating but influenced by the environment—such as wood grain, or the crystallization process. A current point of interest is how time affects the generation of patterns. In addition, Ng is also obsessed with detailed alignment and finds it hard to place anything down randomly without a precise and calculated move. Ng’s work has an underlying formal structure but still maintains a sense of organic fluidity by his use of color, texture and composition.