As I paint, I am aware that unconscious processes are at work as much as my rational mind or my plan for the painting.  I begin by building up and tearing down layers of paint, working experimentally and intuitively.   I often use journal-like writing as a graphic element for aesthetic effect and also as a stand in for the human presence in life.  An underlying grid frequently is present in my painting, pointing to the order in life that shares space with chaos.  “The grid extends, in all directions, to infinity” -- art historian, Rosalind Krauss,


The painting fluctuates between geometric shapes and less-formed shapes/colors/lines which appear spontaneously from underlying layers.  I find this satisfying in that it seems to reflect the man-made versus natural and spontaneous elements of life or the polarities of control and chaos. 


My primary inspiration for my work is color and colors’ ability to reflect universal meaning.  Painting for me is a conduit for the expression of the unconscious and succeeds best when I am able to paint from a dream-like, timeless place.


My attitude is to be open and flexible and to bend to the will of the emerging painting.  I consider a painting finished when it has achieved the status of an object – it is no longer in process but has a weight and being of its own.