General Statement:
My work moves between abstraction and representation. I've long believed that artistic freedom trumps signature style. But within the rubric of that freedom, I've sought to clarify ideas by working in loose-knit series bound by common variables.

Abstraction is my first love, and my years of working in that idiom has exerted its influence on my representational work. My painting process is open-ended; I can begin anywhere and end up anywhere, but there must be transformation. A painting can take 3 years to complete – or one day. The length of time is not important; it's the conjuring that matters.

What I'm trying to do in my studio is to surprise myself. If I can make myself smile, or, better yet, laugh, then I've probably made a decent painting. Ultimately, painting is about freedom and mystery.

Painter Man:
This series came about after a hiatus from making art and out of a need to tell a story and is the first time I used recognizable imagery in my work. This pseudo-autobiography based on a 1950's coloring book image gave me the opportunity to humorously explore issues of identity and class while coming to terms with my sense of my own anonimity within the art world.

Reductive Paintings:
This series evolved out of a group of abstract landscapes. I reduced the landscape referent to horizontal lines, the palette to white, black and, for the most part, ultramarine blue. And I reduced the painting "moves" to horizontal lines and vertical "wipe out" strokes. The idea was to keep the entire surface wet while trying to catch a moment where the rhythm of the strokes flow in a particular way while capturing a particular kind of light.

Rectilinear Figures:
With these paintings, I'm focusing on integrating an idea of the figure within an abstract vocabulary. They represent the furtherest extension of my constructed painting idea and I enjoyed projecting various personae unto these forms.

Constructed Paintings:
I think of this series as my first mature body of work. It grew out of earlier attempts to find form and meaning through an open-ended process of painting in and painting out until arriving at a final image. These works have the added complication of using shaped canvases, with smaller canvases attached to the surface. This posed interesting formal problems, such as the conflict between the physical object and rendered space. As in much of my work, the content, often of a personal nature, comes to the fore within the process of formal resolution.