Painting is a form of communication that I use to record visual experiences
as physically encoded memories. These images serve as notational devices that
signal or hint at my thoughts about things. Composition, color, and mark-making
are key elements of the work and are employed to coax each piece to a certain
point of completeness.
The pattern of my practice is searching, thinking, and making.
Of particular interest is any useful material encountered by
chance, such as the incidental imperfections of 16-millimeter film clutter,
registration marks on commercial packaging, or whatever is left on the
newspaper that covers my work table.
In some of my pieces
I’m concentrating on the paint, concocting personal anecdotes in a visual
conversation about painting itself. With others, I’m making a necessary departure,
speaking in a supplementary, laid-back dialect of work. No matter which mode I
work in, I'm always immersed in this visual vocabulary—searching, thinking, and
making—in that order, over and over again.