ARTIST’S STATEMENT
How and what I paint reflects the influence of painters and painting movements of the mid-20th century. Early on, Abstract Expressionism encouraged me to seek what was authentic for me; the Post Painterly Abstractionists attracted me because of the demanding and monumental quality of their work. Milton Avery’s paintings, which do not fit these contemporary categories, influence and challenge me most of all through their quietly confident composition, gentle clumsy quality, and inspiring color combinations. His paintings opened up a whole world of color for me. More recently, I was lucky enough to see a show of Richard Diebenkorn’s New Mexico paintings. Those paintings make me want to paint!

My approach to painting evolved during more than a decade of making clay sculpture. When working with clay, I was fascinated with the innate qualities of the material itself. I used color in the form of sprayed oxides to accentuate its form and tried not to interfere with the clay’s natural behavior when manipulated. I valued the porous texture of clay in its raw and low-fired state. I also worked with natural processes such as sawdust firing. This way of working was one of relinquishing some control over my medium. I believe this allows a release of energy to be captured in the work. It allows the strange beauty of the world to be shown, even the necessity of what is considered “bad or ugly,” the possibility of existence without pretense.

I paint with oil because I find the color to be luscious and rich. I often pour or rub the paint because that feels like the most natural way of working with it. This results in nuanced color and accents of surprise, which I enhance with line and bright colors. Design is kept to a minimum, revealing an unpretentious and meditative experience.