It has taken many working years to realize that my preferred method and excitement is to FIND rather than INVENT or COMPOSE pictures, and that my first impulse is usually the one to follow. These working methods have driven my studio practice for the last many years. Before that my direction, though always focused on abstraction, involved other methods and processes.
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 a strong saturated matte flat color. The rawness of wood will often contrast with the refinement of paint application. Matting my paint application gives it more weight and depth of color resonance. Uninflected with brushstrokes, texture, 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's physicality and its light imbues each piece.
Throughout the years, the relationship of the color to the wood varies between finding inspiration in its history of color, being a neutral and textured contrast to the paint, or as a slightly patterned ground for the floatation of color.