I work at the intersection between the emotional and the rational, the subconscious and the intentional, the provisional and the systemic. I begin with random, expressive gestures; in my larger paintings there is underpainting in acrylic and ink. I begin to work out color and other compositional ideas bit by bit, transitioning to oil and pigment stick when the surface has been covered and a plan has begun to emerge. Order gradually is imposed on chaos. I follow the painting’s lead. I struggle to listen to what is being offered. I throw in my thoughts from time to time, about particle physics and the weather, human history, current events, like some metaphysical stream of consciousness. I attempt to see how the various elements react with one another... a meandering line may somehow capture a previously unseen connection... some ethereal essence ... so another layer becomes here concise, there a shadow, an echo.  
 
Both adding and scraping away, using pouring and tilting the paper, rubbing and layering the color with brush, pen and fingers to form a kind of scaffolding or grid that is then complicated and made unlikely or even impossible in places, pushed until it has become total chaos before being rescued to some sort of momentary clarity, the process left traceable, the past visible. In the larger pieces, oil pigment stick is burnished into the surface to create areas of translucence and opaqueness, where areas mutate and shift. Solid mass becomes fluid, edges hazy, while something else, swirling, becomes dense. Time runs through the picture plane like a river, shifting the perspective the way the eye makes a saccade through a room, picking up details to memorialize, even as they vanish or pivot away. Mass appears as if abstracted thought has become crystalized, a figure back-lit in a doorway, an object illuminated by passing headlights from the road, leaving after- images burned on the retina. So the painting is asking “Did I see that? What was that?
 
 

In The Weeds #5
2021
acyrlic and oil stick on paper
50 x 50
In The Weeds #3
2020
acrylic, pigment stick and collage on paper
47.5 x 50
In The Weeds #2
2020
acrylic and pigment stick on paper
50 x 50
In The Weeds #4
2020
acrylic, ink, pigment stick on paper
50 x 50
detail In The Weeds #4
The Net
2020
acrylic and pigment stick on paper
diptych, 50 x 60 over all
detail, The Net
Untitled
2020
acrylic, ink, pigment stick on paper
30 x 30
Ashes
2020
acrylic, pigment stick on paper
30 x 30.25
Ashes, detail, bottom middle
In The Weeds #1
2019
acrylic, pigment stick and oil on paper
54.5 x 50
Crying Wolf
2018-2019
acrylic, ink, marker, oil and pigment stick on paper
50 x 50
Holy Weeping
2019
acrylic, ink, pigment stick on paper
50 x 84.5
detail, Holy Weeping
Sorrow is the Working Title
2018
acrylic, pigment stick and oil on paper
38 x 45
Signifiers
2017
acrylic, ink, oil and pigment stick on paper
50 x 50
Deciding
2017
acrylic, ink, marker, oil and oil stick on paper
48 x 50
Installation, Games of Chance at Augusta Savage Gallery, University of Massachusetts, Amherst, September 2019
Cautionary Tale
2017
acrylic, oil and oilstick on paper
50 x 60
The Dark Queen's Last Gambit
2016
acrylic, oil and oilstick on paper
60 x 50 inches
private collection
Woolgathering
2015
acrylic and oilstick on paper
60 x 50 inches
The Blind Old Queen
2015
acrylic and oilstick on paper
60 x 50 inches
Why THere Is no Room For You
2015
acrylic, oil and oilstick on paper
50 x 60
Unspooling
2016
acrylic, ink, oil stick on paper
48 x 48
The Sagas
2012
acrylic and oil stick on paper
38 x 50 inches
private collection
How We Got Here
2015
acrylic, oil stick on paper
40 x 40
Starsailing
2013
acrylic and oil stick on paper
50 x 56
Dancing The Motes On the Edge of a Feather
2013
acrylic and oil stick on paper
38 x 58