Observing our movements through constructed and organic environments drives my compositions.
I recognize similar threads within nature and architecture, then create mental snapshots of these subjects, internalizing them through a lens of Abstraction and ancient Asian painting.
I paint primarily on wood panel and architecture film. Anomalies in the surface or a subtle gradient in the ground coat will reveal a starting point for the first swipe of paint or plotted line. Spontaneous marks and gestures alter my original vision, resulting in a fusion of action and idea. I employ wax, oils and oil sticks with an array of knives, brushes and carpenters tools, often scraping and hacking into the material. There is a shift between dense painterly gesture and precise restrained line . The use of negative space accentuates a sense of motion through my environments. Organic elements appear suspended in converging planes, implying walls and corridors, openings and avenues; the channels we create to connect us to one another. The tension of this interplay gives the perception that the piece may be completing itself in the present moment.
My finished works are a type of sense memory; rather than an attempt to replicate my inspirations, I wish to capture their vital essence, responding to the energies and forces of an indefinite and active matrix.