As a starting point in my work, I employ a basic, undulating, organic form. This tube (snake, worm, noodle, branch, vein, vine) twists and entwines itself throughout the space of the canvas. These forms are not meant to be anything in particular, but refer to a universal form found throughout nature and in the manmade world.
The paintings all take shape intuitively and I paint until I see something happening that excites me and then I try to develop that. This doesn’t happen, usually, unless I take very bold steps along the way and chance trying something that might very well ruin what I’ve
already done. Sometimes this is a hard decision to make, but I force myself, hoping that something good will result, but if nothing else, it will challenge me with a new problem to solve. Much of the actual creative process happens subconsciously.
Sometimes my painting is more linear and sketchy, and on other days I find myself carefully rendering and modulating different areas, depending on my mood.
I believe my paintings contain all of the thoughts and emotions experienced over an extended period time.
I often work on multiple groupings of canvas panels. When I have a composition at least somewhat developed, I mix up the panels and create mismatched family units, which I try to unify into a new painting. The fractured picture plane relates to different intervals of work time. In the end I try to make everything fit together in its own imperfect way. The workflow is organic, intuitive and for the most part unplanned.