Committed to abstraction, I use either found wood or plywood in contrast with strong saturated matte color and geometric forms. Rather than compose, my forms and color are found and chosen. The wood is used in contrast with the refinement of paint application (they are not collage). Matting my oil paint gives it more weight and depth of color resonance. Without overt brushstrokes, texture, or color variation, the color is dense and saturated even in the neutrals, giving each color a strong presence. My color is mixed from choices made found color chips. Beyond my own immediate pleasure in 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. The minute variations found while mixing determines the color’s feeling and resonance, like chords or sound. Throughout the years, the relationship of the paint color to the wood varies between finding inspiration in the history of color in found wood pieces, using wood as a neutral and textured contrast to color, or as a patterned ground for the floatation of color.