I’m interested in paint’s malleability. In my work, I transform the physical possibilities of paint in a literal way, using it as a tactile material to be cut apart and reassembled. My paintings are laborious, but they are not predetermined. They are meticulously pieced together, crafted rather than executed. Remnant material from one painting, the result of a working process of cutting, gouging, or sanding the paint, leads directly to the production of a new work. In this way, process is the impetus for making the work. This ongoing process reflects my concerns about whether it is enough to make paintings about painting, or if this selfperpetuation becomes too insular. I don’t know if my paintings are about painting and its history. I do know that my paintings are about paint. In my work, there is no illusion—the material is meant to reiterate itself.