My work explores the complementarity of abstraction and representation, and the relationship between individuals, the animate and inanimate. Geometric forms may combine with organic, curious, and accidental shapes to make inferences to recognizable forms, while rendered objects fuse, morph or sit juxtaposed with abstract shapes. Compositional density and scale can range from a stimulating emptiness to a consonant surfeit, as befits each paintings needs. Sizes range from the intimate scale of 6 inches to large format work of 6 feet.

I see painting as a physical and philosophical practice, one which examines the nature of reality, the relationship between mind and matter, and the interplay of fact and value. I am drawn by the mystery of why the inanimate, including painting itself, should so often and so urgently feel sensate. I find the world simultaneously mundane and fantastical, and therefore see the incorporation of imaginary imagery as native to reality; that is, the ordinary is the imaginary.

The Possibles

This series explores the familiarity and strangeness inherent in abstraction, and the potential for simple shapes to trigger memories and emotions. Their first impression should be of simplicity, as when one recognizes a friend from far away by the distinctness of their shape alone, and one's first impression, uncompounded, is, "ah, that is X," and then comes the trickle of reflections, leading to thoughts no longer simple. So that to look again at X on the horizon, or to look again at the painting on the wall, would be to feel that while we may have only glimpsed a bit of matter, a shadow of something, we have also visited a place where image and energy alternately fuse and divide.

My hope is to make formidable but tender, paradoxically harmonic paintings that may be inexplicable and yet speak.