I have always been intrigued with the endless potential of non-objective painting. This form of expression has always provided me with an unparalleled means of conveying  emotion and mood.  

Today my work continues to focus on the evocative and poetic rather than the descriptive. For me, painted arrangements stand as metaphors for things in nature, both physical and spiritual. Elements and relationships come into being, evolve, and phase out or transform, just as things do in life. The process is fluid and organic. I love working over and layering the paint, taking away, adding, and balancing accident and control to arrive at a feeling of resolution.

This processof development, or the painting’s history, is metaphorical as well. I am constantly intrigued by and aware of what came before, what lies underneath, and the implied presence or impact of earlier events on the finished design. In the completed work, these expressive arrangements, movements, and relationships arrive at a state where they hold together satisfyingly and cohesively.

For the last several years, my paintings most often began with a feeling about or recollection of a landscape. The most recent work, however, begins with automatic drawing—a series of gestural, linear movements that come from my interior, from a place of “no mind.”  I find this way of generating a painting to be both compelling and revealing.