My painting is an investigation of organic abstraction. I assimilate nature-based formalism by creating an intuitive reconstruction of organic shapes with a compositional structure to hold the parts together. The approach is much like Jazz improvisation to start and Classical music in poetic refinement. It is a balance between accidents and controlled marks.
The process involves additive and subtractive marks that are made with large palette knives, spatulas, brushes, rubber clay pencils, controlled pouring and paper towel. It is a process of controlled accidents and connections as the tools are used to paint, smear, scratch, scrape, sculpt and draw. Phantom markings in the underlying layers are a welcome texture and reveal a history of the paint meditation. No mark is too precious until the whole is resolved.