My paintings reference forms found in architecture and design. I create compositions
based on loose geometry and layered saturated colors. The hard edge process of
cutting shapes and layering color onto treated raw linen, recalls qualities of midcentury
low-tech graphics, colorfield painting and collage.
When applying oil paint to linen I try to accentuate the inherent qualities of both
mediums. I consider both the transparency and opacity of the colors, how they abut and
overlap and how they respond to the textured tooth of the linen. The internal shapes
respond directly to both the edge and external proportions of the stretcher. As the scale
increases, the painting space can become part of the surrounding architecture. I work
intuitively in the studio with prior works informing the process and external sources both conscious and unconscious influencing decisions.
New York Conversation references my studio process, and metaphorically describes the
random thoughts, snippets of conversation, lyrics and memories that ebb and flow over
the course of a painting. Visual signs, nostalgia and the emotional residue of color,
guide my aesthetic choices. My reductive abstract paintings are about the beauty of
singular color, the impact of pure abstract forms and the quiet order that cuts through