In my work, I build my own stretchers with wood I have specified from a mill, formulate my own paint, and construct custom brushes. The raw canvas is transformed into an ultra-smooth surface. What looks like a thick buildup of paint is void of texture and deceptively resembles a photographic print. I take into consideration the edges of the paintings by leaving them unfinished to show the evolution/evidence of my process; thus, they too become part of the overall aesthetic. I envision a phenomenological experience of the work rather than providing the viewer with a concept for understanding it. By avoiding ideological solutions and encouraging interaction, I hope to stimulate the viewer to “feel” the work instead of “seeing” a preconceived notion or answer.