My artworks begin as single sheets of paper that are layered with paint and treated with medium for varied pliability. 

Paper. Scissors. Hands. Paint. Clamp. Roller. Brushes. Knee. Blade. Fingers.
Adhesion: Glue. Staples. Thread. Tape.

Folding. Painting. (Ripping/tearing.) Bending. (Thinking.) Cutting. Binding.
(Adapted by pressure, weight, mood. Depth of bend, color, shape.)

These materials, tools, and actions constitute my vocabulary/language of drawing/painting. I use paper because it is a traditional material that allows me to investigate the nuances of form, color, and surface. 

Though I situate this body of work in the arena of drawing and painting, my interest involves the function of a work’s dimensional interplay as an object, as a drawing, and as a painting. I am concerned with how the components of the artworks interact within themselves, their viewers, and their spatial environments. I practice restraint with the fragile tactility of paper and the vast temperament of paint. My pieces are intimate and of self-proportioned scale. I work within these limits to create significance from the insignificant and to expand perceptual thought and emotion through subtlety.

I aggravate a surface in order to alleviate a thought.

[Vulnerable. (Strong). Present. Formed. Formal.]

Whether on the floor or up against the wall, my studio process is quite physical. I do and undo; scrape and stroke; contemplate and change until my thoughts, too, become physical. The paper is no longer flat but now holds unenclosed volume. Of slight bulk and build, this work has a relationship to the wall and intrudes upon the surrounding space.

I mix paint until the color becomes unknown to me; until it achieves its own emotional tonality and weight; until I see the color and finish that is specific to its concept and form. It is non-referential but formally intuitive. The color/hue/tone transforms elemental matter into abstracted relics for contemplation.

With the utmost intention, I move color in softly, invert dents, and alter edges. Determined curves, strategic color, and encrypted folds combine to create sensorial dimension. Each piece is an accumulation of imprinted actions over time.

I refine the shaggy circumferences of smudges, cut precisely, crease and tuck. Through these actions structure takes shape. Shaping leads to form. The object is then in and of itself a unique complexity.

[Physically complete. || Experientially open.]

*gypsum and clay in 2017