As a painter, I am interested in color and form within the pictorial space.
As I see it, the main problem to solve in painting has to do with color-as-form. Specifically, the unification of color, form, and space. Color and form are inseparable from both the implied space and the literal surface of the painting. Forms literally emerge from the process of painting, rather than being painted forms.
The repetition of the movements and brushwork creates a certain stability and familiarity which allows me to be free from thinking about overtly compositional choices. I merely attend to the rhythms of brushwork and build-up of surface as I progress with each piece.
My paintings offer the viewer an experience of stasis as well as movement, presence as well as absence, mass as well as void, projection as well as retraction- without being the embodiment of either to the exclusion of the other. These are what I understand to be the forces inherent in nature- constantly working in relation to each other, yet at times seemingly invisible.
The forms in each painting may reveal themselves as shimmering entities are they solid mass or, like a mirage- merely the movements of vapor? That which may initially appear to be solid, may in fact be as porous as the atmosphere we breathe. Perhaps form is not separate from the surrounding space. Perhaps form, space, and light are constantly forming and re-forming their interrelations in a dynamic exchange. This I leave for the viewer to decide.
Painters whom I admire include Claude Monet, Vincent Van Gogh, Susan Rothenberg, and Clyfford Still.
