A painting comes alive for me when I can feel the air in it. Although I am deeply interested in space and the representation of space, painting for me is about discovering an image through a process of drawing, painting, painting out, repainting until I arrive at a place which surprises me but I recognize. I want my paintings to look fresh but in actuality they are the result of a long trial by error process and are informed by a deep engagement with looking at art and architecture.
I am currently developing three related groups of paintings—large-scale paintings of open-ended structures; smaller paintings on linen where matte blue pigment evokes a deep, often nocturnal space; and gestural ink and acrylic paintings on paper. My large paintings are as high as I can reach and orchestrate paths of movement and mark-making. Paintings on paper are constructed with giant brushstrokes and shards of trompe l’oile torn paper collage. Dry brushed lines serve as building blocks for architectural forms, stained pours of paint punctuated by hard-edged geometrical shapes, and gestural figures that dissolve into brush strokes, negotiating a shifting terrain between abstraction and representation.