I have been looking at painting as several things: an optical experience, a physical object with discrete parts, and a set of conventions and assumptions.

I play with these aspects in ways that undo my own expectations, and in doing so I often find what seems to me a kind of “no-space space,” one that exists in the artwork even though it is not supposed to be there. For example, in some paintings I have opened and expanded an area located between the linen and the paint film. In other instances, I have cut through the painted surface to expose an elaboration of the painting’s support structure that becomes a different kind of picture.