Through abstraction I reveal a world, not unlike my everyday life: rigorous and controlled but with room for spontaneity, irony and consciousness. Without the constraints of subject matter, abstraction has allowed me to explore pure painting. I suggest friction, awkwardness, a sense of self, energy and place within forms and between their edges by allowing an unwilled execution to coexist with restrained judgment.

When I work with modular forms I supervise the final structured mass (as in the above left drawing). I nudge it this way and that way while consciously considering the closeness of one form or surface edge to another. Contiguous form and unexpected color and spatial relationships are some of the recurring themes that create abstract narratives in my work.

I see my work constructed in a single plane without any depth. Others sometimes see a dimensional appearance in my work but that is not my intention. At times my work might read as landscape or figure but I intend for the work to describe only itself. The forms I use are L-shaped, rectilinear, triangulated, free standing or forms packed into sets. The use of high key and neutral color forms instigates a competition for visual attention.

I am inspired by Jean Arp's extremely well edited form, Ken Price's labored surface, Tom Friedman's modular constructions and Tom Nozkowski's range of 'place.' Other inspiration is derived from existential themes in literature.