It has taken many years to realize that my preferred working method is to FIND rather than INVENT or COMPOSE pictures and that my first impulse (the Zen impulse) is the one to follow. These working methods have driven my studio practice for the last many years. Before that my direction, though always abstraction, involved other methods.
The visual elements that characterize the appearance of my work are the use of certain materials, the contrast of the raw and the refined, and the strong saturated flat color. The rawness of wood may contrast with the refinement of paint application. I matte my paint to give it more weight and depth of color resonance. Uninflected with brushstrokes, color variation, or reflection, the color is dense and saturated even in the neutrals, giving each color a strong presence. Beyond my own immediate pleasure of mixing and calibrating the color to its exact intensity, warmth or coolness, and saturation, the sense of color physicality and its light imbues each piece.
The relationship of the color to the wood varies between being inspired by, being a neutral and textured contrast to the paint, or as a slightly patterned ground for the floatation of color, as seen throughout my years of this work.