Statement

I pour and brush pigment across canvas surfaces and weaves in my paintings. Spacial and surface configurings emerge. Open and pigmented areas alternate between each other across supports. Scales of marks and pour pools vary. These goings-on either take place together on single visual planes or apart on separate ones. Imagery is built up with both incisive and surface marks as well as poured shapes. Gestural, swooping lines stemming from the wrist, as well as terser vertical and diagonal marks are tools for accessing 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 also have origins in early mosaic studies. Incisive lines are longings for past intaglio printmaking. Diagrammatic marks are allusions to sewing patterns from home economics classes. Sensibilities reflect early South and Midwest years where vertical white daylight bursts are in tandem with hanging North Florida Spanish moss. Later, the mist and humidity of Missouri and Iowa become encasing and stifling presences. There was dissonance between this tightness and the expansive ground over which it hovered. My current Lower East Side studio and subsequently my work is filled with these polarities and references.