There are three bodies of work currently underway. These series of paintings have in common the directness of the process and the way that their abstract structures reflect the inner life of the artist.
The Shaped Abstracts are an on-going series of paintings on unprimed canvas, made of repeated brushed lines that collectively form the composition. One mode of these works is a series of horizontal or vertical stripes in thin washes of oil paint. A second group features patterns of small shapes, interlocking brush strokes, blocks of color, and off-kilter grids in black and white. Many of these paintings have a dynamic optical energy. A third, related group begins at the approximate center of the canvas and builds outward with thick lines to form a kind of dense labyrinth.
In the Shaped Abstracts, the shape of a painting is close to a square or a rectangle, but it is never geometrically pure. Determined by the overall structure, the edges of the painted surface are always slightly irregular. The canvas is stretched over a wood support, which has been cut to match the margins of the painting.
The Labyrinth series incorporates recognizable imagery that emerges from a series of echoing lines. The iconography generally draws upon a personal condition perceived by the artist. As in all of the paintings, these works are abstract and intuitive, direct metaphors for experiences in life – marriage, psychological turmoil, and spiritual growth.
The Found Fabric series is painted in acrylic and oil on cloth dinner napkins. The crude square is an inner space where the color and form are manipulated to partially dissolve the structure. The drips and stains that leak outside the painted square show how this private internal dynamic interfaces with the outside world. In these paintings, and throughout each series, the process of working with the paint’s material qualities is a method for the artist to anchor subjectivity in the physical experience of the body.
"My practice is rooted in personal experience and the desire to have a place in the world as a distinct individual. I make paintings that employ optical and material qualities for the purpose of grounding them in a phenomenal body-experience. By matching the supports to the irregular painted edge, I draw a close correspondence between the object’s interior and exterior aspects. At the same time I’m after a spirited sense of particular eccentricity in the surfaces. These relationships heighten awareness of subjective experience and our bonds to an ostensible objectivity we share."