The 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 continues to hold an allure for me. It 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 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 the origin and counterpoint to the color interventions. Originally salvaged from the renovation of my studio and house, the worn, natural state of the wood I use continues to be an inspiration as well as foil for my color. The wood’s patina, its tactile qualities are a large part of what makes each piece unique and the weathered quality serves as a contrast to the more pristine application of paint and the color choices.

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, and joy and wonder have greatly affected my use of color!