I am primarily a painter, but my work on both canvas and paper typically incorporates mixed media, collage, and assemblage, elements that are meant to enliven the image thematically and press the surfaces outward, into the viewer’s space. Although oil paint remains central, the addition of other materials accretes into a rich, textured surface density and luminous, atmospheric layers of color and calligraphic mark. Thus, vivid, complex paint surfaces, in conjunction with collage and found objects, generate detailed visual and spatial effects, which can, as one example, evoke the complicated, history-encrusted surfaces of old buildings. I often make my own oil paints, using natural or historical pigments, to further develop a personal color. Poetic support for all such techniques may also come from the cultural iconography of my upbringing, or from fragments of writing that appear alongside the other imagery.
I am captivated by beauty, always, but at the same time I also want the rhythms of life to seep into my imagery and constructive procedures: whether the visual motive emerges from my travels or from the immediacy of the daily world around me, all the sounds, light, and heat, the landscape, architecture and public spaces, a feeling for the quotidian rituals of a particular place. As these are filtered through my studio process, they ultimately seek reconciliation between place and imagery, exterior and interior, nature and the human. In this sense, the work calls to mind the sense of a place rather than its description, an inclusive visual concept that I wish to consider at length rather than a pictorial idea or scene alone.