My work is both formal and idiosyncratic. I identify simple clear forms that embody assertiveness, a kind of peculiarity, and vulnerability at once. The masses I describe have a way of being both flat and dimensional and I continually think about sculpture while I paint. The works often are a hybrid of structure, architecture, and human anatomy.
The painting process itself involves a lot of taping and pouring and is both very controlled and intuitive. I work the canvas as much horizontally on the floor as on the wall. I am obsessive about how paint physically settles on the surface of the picture plane and may pour areas six or seven times before I am satisfied. While I am a bit of a formalist, I choose to animate inanimate form. There’s a fair amount of conflation happening in the work so it doesn’t settle easily into one camp or another.