My various projects tend to be related in some way to my physical environments and experience of them. Also, they are experiments in creating new environments. An individual painting can become a new place in itself, with sensations of things that might happen in a place, such as weather, touch, landscape, temperature, sex, or noise. Abstract marks interact with more recognizable shapes, and a kind of narrative ensues. When talking or writing about my work, I stray from defining the narratives. Instead, I try to describe them as I see them; both as the person that made them and decided they make sense, and also as a witness to the end result.

By not providing a literal translation of the visual elements, I have relinquished some control over what is read into the paintings. The person viewing a painting deciphers it within his/her own frame of reference, and is invited to enable the very act of looking to generate the meaning.

I think of both painting and looking as pleasureful experiences.

"Meaning is born of collaboration and negotiation between the artist and the one who comes to view the work. Why wouldn't the meaning of the work have as much to do with the use one makes of it as with the artist's intentions for it?" --Nicolas Bourriaud, Postproduction