I paint to communicate to others how I see – not what I see. The natural and persistent need to communicate, to relate, to understand and be understood by others is what draws me to paint the figure. My expressive figurations are the allegorical road map of my inner dialogue with real and invented subjects.

Sociology asks “How” and Philosophy asks “Why” regarding the human condition, my interest in both fields of study makes for many multifaceted questions:

• How and why does the group affect the individual?
• How and why does the individual (my subject) affect me?
• Is there such a thing as an individual, or is this idea of singularity simply a western conceptual construction?
• Is the championed concept of autonomy responsible for the persistence of isolation, or is the sensation of being alone in the crowd an indivisible component of the human experience?

My process follows a pattern of repeated revision, elimination, and reconstruction that allows for accidental self-discovery. As with many painters, I have developed a set of personal rules for working with my materials that lend structure to my practice. I begin with only single pigment acrylics and from there, mix all of my own colors; nothing is allowed to go straight from the tube onto my surface. When working on canvas I begin with putty-like “heavy body” paint. I adjust the consistency and luminosity of the paint with as much consideration as I lend to the color, and by the time that the paint reaches the canvas it is entirely my own.

The process of preparing and laying out my materials serves as a period of meditation prior to the beginning of my painting. This structured ritual helps me to get out of my own way. It is a welcomed period of cerebral silence that assists me in keeping any desire for a particular outcome at bay. I strive to maintain a loose framework of intention guided by personally evolving questions."