My work is clearly abstract and non-objective, characterized by a sparse sense of geometry and a lush, rich, and complex color. The language of abstraction is a flexible and suggestive language with the ability to evoke a range of associations, and non-specific emotional or meditative responses, free from specific references or imagery. Though the term constructions may best describe what I do, I consider the works more related to painting than sculpture because of the frontal orientation meant to be seen on the wall, and importance of color and color relationships. My interest in the intersection between painting and object, with work that calls attention to its physicality, has been an ongoing characteristic of my work throughout my painting life. In the current work, the salvaged wood is often origin and/or counterpoint to the color interventions, which stand clearly defined in opaque, matte, and uninflected paint application. Color notations or the use of found color in the form of paint chips or colored papers have become a foundational part of my working process despite the fact that the decisions about color are intuitive. Landscape light and weather, place and incidental moment, joy and wonder in color and color mixing/seeing are my ongoing inspiration.