Through abstraction I reveal a world, not unlike my everyday life: rigorous and controlled but with room for spontaneity, irony and consciousness. Without the constraints of subject matter, abstraction has allowed me to explore pure painting. I suggest friction, awkwardness, a sense of self, energy and place within forms and between their edges by allowing an unwilled execution to coexist with restrained judgment. At times my painting reads as landscape or figure but I intend for the work to describe only itself. The forms I use are L-shaped, rectilinear, freestanding or packed into sets. The surface of a dominant form might be thick and opaque or translucent and lumpy. Sanding, scraping and peeling alters the surface history. The shape’s contours are painted by hand. The use of high key and neutral color forms, instigates a competition for visual attention. I 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 pieces develop 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 that individual expression confirms our existence. 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, when an unexpected meeting of edges provokes discomfort and eventual insight. This discovery is the beginning stage of resolving a painting. 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.