Statement 

I pour and brush paint across surfaces and into canvas weaves and crevices in my abstract paintings. A spacial and surface configuring develops. A work has varying scales as well as an alternating between open and pigmented areas. These two things exist together on single visual planes or apart on separate ones. Imagery is built up with incisive and surface marks and poured shapes. Gestural, swooping lines stemming from the wrist, as well as terser vertical and diagonal marks are tools for marking surface and space. Areas in a work can be loose or taut. Pictorial elements are either inside painting edges or partially off them. Accordingly, a dual focus of what is within pieces and outside them emerges. Infinities and immediacies align and separate. Tensions forge.

My tools include drawing and painting from art school training. Embedded marks have origins in early mosaic studies. Incisive lines are longings for past intaglio printmaking. Diagrammatic marks are allusions to sewing patterns from home economics. Sensibilities reflect early South and Midwest years where vertical bursts of white daylight and hanging North Florida Spanish moss were in tandem. Later, the mist and humidity of Missouri and Iowa were encasing and stifling presences. There was dissonance between these phenomena and the endless ground over which they hovered. My current Lower East Side studio, and subsequently my work, is filled with these polarities and references.