To me, painting is a dedication of time to an experiment or a problem with an unknown conclusion. The best thing a painting can do is to come up with something new visually that offers a peculiar way of looking at the world.

I am engaged in creating works that are in essence abstract but are also connected to a lexicon of real-world imagery. In each picture, content is referential to subjects in the world, such as an object, event, idea, place––something familiar, mysterious, domestic, important, or banal.

In the studio, paintings undergo a continual process of editing and refining, retaining something of their past through the variety of built-up layers. Work sessions enable new details to ferment, creating an accumulation of stacked content. Paradoxically, instinct contributes as a physical thinking process––a way of being involved in a kind of internal dialogue. In each painting every question is different, every problem is different, so every painting is different.