I approach painting with optimism, recognizing that a fracture can hold presence and, in its unfolding, resolve other ruptures. I am drawn to the grandeur in the granular: the mils where one color presses against another, the quarter inch of imbalanced structure; visual moments that instantly tighten the jaw and present a challenge to resolve.
Through its surface and its support, a painting exposes lines as cuts, seams, roads, and measures. At times, those lines also simply present themselves as lines, not standing in for other entities, likenesses, or metaphors. The challenge is often the simple task of looking at a color, the absence of one, a shape, or its lack of connection to the next. Painting is an attempt to resolve these same challenges through physical intervention. I choose to hold that power, though an intervention may not always end in content. Sometimes, restraint and longer observation are what resolve the challenge first presented.
I draw interest from the stories of civilizations, and from the ways they perceive objects, some of which our times, or theirs, regard as art. I am interested in how paint as material, painting as medium, and paintings as objects shift alongside changes in how we want to live, observe, and resolve.