Painting as possibility – an act of faith rather than a stance. Not ideas about the thing, but the thing itself.
I take it for granted that painting is an endlessly renewable resource, and I explore it as an articulate, sensual instrument of non-verbal thinking -- a mode of perceptual inquiry rather than of narrative, conceptual illustration, or critique.
I consider my paintings to be analogues of my pre-verbal perception, and I want them to be as articulate as possible, in keeping with painting’s unique capacity for mute precision. Situating myself at the threshold of linguistic intelligence -- the space between sensing and saying -- where sensation, emotion, memory, and intuition mingle on the verge of cognition, I wish to capture not the white noise of perception itself, but the moment at which it begins to filter coherently into consciousness. My predominant (though not exclusive) use of digital media for composing and revising my studies enables me to work almost at the speed at which I think visually, keeping me within the pre-verbal zone’s kaleidoscope of perception. It’s a dynamic process of filtering that keeps my work energized while satisfying a need for structure and the rigors of problem solving.