The focus of my inquiry as a painter is the gesture.
My interest lies in freeing the gesture from the traditional rectangular shaped
support and exploring its potential. My goal is to create work that encourages
a dialogue within the architectural space where it resides. The energy in the
work is not directed inward but outwardly directed.
Painting has traditionally been pretty much a figure/ground situation.
One begins with a defined ground, usually a square or rectangle, and
makes a painting to fit that shape.
For me, that was problematic for a number of reasons:
1. I didn’t like the historical reference to a door or window.
2. I felt I was unnecessarily battling with edges and corners.
3. The ground became an unnecessary part of the painting as an object.
I decided to make paintings without the ground so the painting itself becomes
the gesture. 


Additionally, I want to put the human experience into it. In a sense they are self portraits, a direct reflection of my physicality at a specific time.


I create the works on the floor, moving around them. I often use brooms for
brushes. The paint is a mixture of polymers and dispersed pigment.
Sometimes I add micro bubbles to make them lighter. As a veteran oil painter, I enjoy the idea that in this exploration I am using materials employing nanotechnology and brooms.