The works in Clash are graphs and diagrams disguised as over-aestheticized minimalist abstract works. The subject matter in each work borders on trite. Yet the treatment of banal sets of data that inform each work imbues in them an unsettling quality. What makes these works stand out is the unexpected use of data as aesthetic as opposed to rhetorical vocabulary.
Clash dwells on the use and misuse of aesthetics and statistics. It deals not just with implementation and application of meaning, but also beauty. In Clash I traverse the hazy boundary that connects and separates the realms of beauty and meaning. But most importantly, the series brings the parallel worlds of abstraction and concrete together, in a clash, mirroring the violent conflict between other parallel realms, such as faith and reason.