In my working process I search for unexpected colors and color relationships. Just as the space between two points on a line can be subdivided infinitely so it is between two colors – a sort of micro vastness that I find compelling. In the last decade, I have developed a process of pouring layers of tinted polymer on panel that has expanded the breadth of what I can achieve with color and surface. After pouring the tinted polymer, I manipulate the panel so the paint collects or cracks. My hand is removed in the process - I set a stage for things to happen. The poured polymer mimics nature: a layer of polymer hardens like ice or mud – it’s thickness and viscosity impacting how the surface dries. The variations on the surface and the quality of the color are the result of a delicate and flexible relationship between control and accident. I assemble the poured panels into specifically calibrated horizontal or vertical sequences, creating a narrative of color, space and light. The surfaces range from dull to glossy - either absorbing or reflecting the light, existing always in relationship to the light in the room or the position of the viewer.