Through my work I embrace a fascination with paint and interaction with itself and other materials. Beginning with a variable plan regarding composition helps me to respond to incidental occurrences in my process. I look for different structural starting points—referencing a snap shot, using pours from my studio floor, or throwing down “trash” in order to achieve variety in my compositions. To invoke happenings on the surface, I pour paint, apply brushstrokes and integrate collage materials. I respond to the forms by orchestrating contrasts: color against color, values to textures, and types of edges against one another. I am interested in multiple areas of tension and visual dynamics that are created in these relationships. Using disparate materials intertwined with spontaneous paint pours and mark making drives much of the varietal harmony in the work.
Painting in this intuitive, automatic process is important to me, as it focuses on the present, and allows for associative connections to naturally come forward. Using materials directly from my studio, including wrappers, diagrams, and collage elements emphasize an instantaneous quality to the work. Texture, color, and graphic design are already present in the materials, which interact with the paint application and enforce the automatic approach that I practice.