Through abstraction I reveal a world, not unlike my everyday life: rigorous and controlled with room for spontaneity, irony and consciousness. Without the constraints of subject matter I suggest energy, awkwardness, place and a sense of self within forms and between their edges by allowing an unwilled execution to coexist with restrained judgment. 

My work is constructed in a single plane without depth. Some see dimension or landscape in the work but that is not my intention. The forms I use might be L-shaped, rectilinear, free-formed or packed into sets. A form’s surface might be thick and opaque or translucent and lumpy. While an area or shape’s contour and color are materializing, I simultaneously survey the whole in order to balance high key color and neutral color relationships. As a personal narrative begins to emerge I continue to rework each edge until I judge that the straightness, slant, or density has imbued each form with a life and independence of its own. The final work develops from a painstaking readjustment and editing of forms and their relationships.

I am inspired by Jean Arp’s extremely well edited form, Tom Nozkowski’s infinite range of ‘place’ and the gift of blind faith whenever I am confronted by a Franz West. Other inspiration is derived from existential themes in literature. I paint because I strongly feel the process confirms the ‘self.’ While I go through the process, and many times struggle, I continue because I believe I will find again that moment when resolution occurs: when the unfamiliar becomes recognized and when a meeting of edges offers unexpected insight. I have come to see this colliding, transitory moment as a connection to all things at once, which I see reflected in these abstract relationships.