Artist Statement
 
The act of making as a culture of production defines the artifact. The representative imagery implies a time and genealogy. The residues of a sketch are imbibed with the legacy of tradition and visual infatuation. 

Imagery, like subject, is the comprehension upon which modern criticism depends. The reference of imagery is threefold, loosely grouped under form, color and technique. 

Form remains innately personal to the creator. Association or recognition are actions mapped and extracted in a postproduction state.  Such interpretations are critical decisions that remain separate from myself as the creator, and from the work as an independent entity. Figure defines a story: overt and hidden, complex and crass brought to the object through the interaction with the viewer. 

My paintings and drawings deal with the relationships of objects in space over time. Each object maintains an independent form, but the space and motion of the painting stems from the expression of the coupling interaction. Their origin remains personal and intuitive, but seductively suggestive. As shadows of themselves, their form masks their cognitive attachments and associations. They imply their space and place, meaning and association. Abstract and figurative the suggestive psychological intentions and interpretations let the view watch and be watched. 

Color as the primary recognition of form defines both the foreground subject as well as the recessional planes establishing the space, motion and mood of the painting. The energy of the mark leaves an archaeological explanation of the process and works to enforce the structure and emotion of the forms.  My dance becomes ingrained in the composition. 

The color and structure of form stem from technique. The automatic instinctual state allows the struggle to be realized. The process embodies my release. Structure, stemming from the arm and eye, is realized in bold graphic forms. Like figures in a dance the spaces between are activated and animated.

Formal creation exists in dichotomy being both improvised and planned in content, technique and method.  Both methods consistently depend upon the essential forms of pictorial language. 

To paint for oneself is to find the self, That is the reason for the search in my work.