My concerns with abstract painting are twofold. First is with abstraction as a visual language in a world that is represented primarily through the force multipliers of photography, video and digital media.
Second is with my own work, my aim being to inspire a sensation that’s analogous to experiencing nature. My process results not so much in pictures as direct imprints of duration, exposing the history of their own making in the exposed and manipulated layers of color. Echoing a kind of morphogenesis, they formulate themselves in an arena of inevitability, resulting in visual manifestations of the physical forces I impose on them.
At the same time, my process is about the individuation of discovery. In that process, I see the manipulation of the material as having a dual purpose: 1) to be a vehicle for a process of expression, and ultimately 2) to be the map of that process by asserting itself as an image that articulates the simultaneity of thinking and making.