A hybrid form between painting and sculpture has been a constant throughout my work, as well as working with non-objective reductive forms. That means letting the relationships between shape, color, and texture tell the story or present themselves directly. With few exceptions my work is wall oriented, modest in size, and focused on the specific characteristics of the materials I use, wood and oil paint, and foregrounding those. The wood support is clearly a part of the work whose patterns, textures, color, or history are an integral presence. The paint application is uninflected, drawing attention to its density and allowing a deep light saturation. The painted areas are not collage, though they often appear that way. I do use colored papers as my jumping off point, but all the color areas are painted. Color, with its nuance of saturation, hue, and value, has been an ongoing challenge and fascination as I mix to achieve color identities. This interest is a deeply satisfying part of my process. More recent work has gravitated to black and white, whereas all the previous color work had no black admixtures and rarely if ever used color straight from the tube. Compositions in my work are found in the array of papers on my working tables. Chance and first impulses are a large part of the process, my preference being to find rather than invent. Those choices do not feel arbitrary, but are striking, mysterious, and honest to me.