I work primarily from direct observation in my painting process. Absorbing the temperature fluctuations of forms awakened by light fascinates me. My subject acts as a compass, redirecting me when my painting is lost. Each time I revisit a subject it changes, revealing new and different relationships. This is due in part to changes within myself. As my subject changes, I try to express these newly absorbed visual sensations. For me, this process is highly engaging, and often surprising. Just as I feel that I am beginning to understand what I am looking at, it changes, reminding me that I still have more to see and learn. Light is everywhere that I look. I find that shadows are not passive, but gently dancing in low light.


As the light of the day and weather transition, I move to projects that suit a particular light, or I redraw my paintings to avoid inconsistent color structure. Scrutinizing shapes, I redraw my paintings often, even in more developed stages of the painting. Working with line to describe form allows me to see things differently and to find useful information. My paintings often build up slowly and the compositions develops as I spend more time with the work. At the beginning and end of each painting session, I judge my day’s work and often smudge, flatten, scrape, re-ground, and sand away what is unacceptable. Sometimes all that remains is a residual image. This pentimenti serves as an informative and malleable base to work from.


I paint on a variety of surfaces to be surprised and challenged. The surfaces vary in color, texture, and feel. My surface choices are influenced by a wide variety of painting processes. I experiment with various painting mediums and paint additives to adjust the viscosity, sheen, and texture of the paint film. Some additional tools that I use are rulers, a calculator, rags, and at times the tips of my fingers.


I paint objects, landscapes, and figures. My subjects are drawn from my surroundings, from my personal history, and from paintings that I admire. Objects that I include in my work include skulls, potted cacti, fruit, foot-lockers, boots, bricks, fabrics and shells. I oftentimes organize my compositions to subtly describe, broader cultural concerns, observations from my daily life, as well as memories from my personal history.