I am involved in an experiment to de-condition myself--away from the literal, away from the familiar. I am interested in moments between strokes where I find suggestions of half-truths; places where the painting escapes my control, pushing through the easily arrived at logical conclusions, delving into forms that are on the verge of definition. The paintings reside in this transitional space, where they can move back and forth freely, allowing shapes and forms to advance and recede. I let the paint inform me and the choices I make.

 

         I use the painted surface to express phenomena that is unfamiliar, irregular or impossible. I have a fascination with the underside of things--literally and figuratively.  The forms are swallowed by the painted ground. Some are struggling to free themselves, some are falling, others float on an oily film of paint and medium. My intention is to evoke feelings rather than objectively describe them.  There is a division between concept and image. They develop along divergent paths. How can we go beyond thought to access the more silent language of sensual memory? The answer may lie in the terrain between the imagined and the real; in the area where slippage and disorientation occurs. This place is always just beyond my understanding. My paintings don't ask to be about "thinkable" conditions. They are about pre-verbal conditions. My goal is not just to form images, but also, to de-form them.