Painting is my preferred escape; a place to invent worlds that unfold slowly. I push materials so that I cannot control them fully, which permits and encourages accidents. This process-based exploration allows me a sense of playful freedom, and more importantly, a way for deep spaces to form in paintings that cannot be planned. These surprising spaces hook me into painting daily. I'm obsessively engaged in the physicality of paint, the language that forms and the healing capacity in my life to help me make sense of inexplicable things. Forces in nature inspire my work and often show up in my techniques emulating wind, gravity, buoyancy, rain, or aging/decay. I move between additive and subtractive processes as well as intuitive and analytical adjustments.
In recent years, I've been working from my memories: conversations, places, the energy of a person, the energy of a land, the residual energy a memory leaves behind. I want the essence of a memory to be shared, but the specific story, its actors, its objects, its location, recognized as vaguely familiar, but unidentifiable. For me, the results are most like painting a dream that can't quite come into focus, only certain pieces become clear.
Painting is a best friend who carries my secrets - my awkwardness, my cheers, my fears, the laughable absurdities, the messengers and their messages.