The challenge of creating a flat-surface view of nuanced color, shifting shapes, and
architectural perspectives is my primary interest. Curiosity and experimentation allow
me to start with a general idea, which is always overthrown by the multi-layered
process, resulting in the viewer being a still point in a painting of ceaseless movement.

Often, as a counter to a painting’s sense of highly charged motion, there may be a pale toned space in the upper register, allowing the viewer to take a breath — pause — before returning to the specific minutia and large abstractions again.

On the canvas there are many layers of thin, subtly tonal-shifting colors [sometimes
adjacent or interrupted by a thickly brushed shape or a delicate line]. I find the tonal
complexities of color to be fascinating.

Convergence, entropy, caprice and dissolution visually describe the viewed painting
environment — although mainly abstract these paintings could be seen as cityscapes,
aerial views, or landscapes: although, more of an internal experience of flux than a
fixed record.