In my painting I am constantly striving for an ever-elusive balance. My pieces are first and foremost products of a progression (or sometimes a revisiting) - the next one informed by the previous ones - where process constantly occupies time, movement and space.
In this way, my paintings explore how color, texture and layering can enhance the creative process, and also make a stronger end-product. Ideally, they are attempts at connection, both visual and emotional, through a pictorial mix of apparent disorder.
When I paint, I am working in an idiom where color holds the leading role: it provides thematic or symbolic content, creates tension, feeds the composition, draws the eye of the viewer. The colors, shapes and lines I choose - whether consciously or not - constitute their own language.
Even when I am not painting - when I walk, read, drive, watch, see, seek, feel or dream - I am thinking about painting, particularly about how color occupies space. When I am painting, I am inevitably both author and viewer, participant and observer. It is a kind of unearned privilege of which I am highly conscious.
While my collages relate more to personal experience, humor or social commentary, my paintings are far less representational. By choosing an abstract vernacular, I am trying to resist the comfortable, accessible order of the recognizable: I am loosening the strong pull of analysis or interpretation, and giving in to a freer hand. It feels like a worthy pursuit: a kind of return to a more intuitive, less cerebral form of expression.
Of course I think that I am free, but I am inevitably limited by what I know and think, where I come from, and what I love, detest or find beautiful. The works reflect the tension between instinct and technique, between feeling and thinking, and celebrate complexity, contradiction and ambiguity.