Paintings on canvas and on paper comprise the sum total of my artistic practice. I work in a zone between abstraction and representation, the latter often being a jumping-off point for the paintings in that there are often quasi-recognizable configurations taken from life. These configurations tend to create an overall body-in-landscape ethos, mitigated by and veering back toward abstraction with the incorporation of various geometric elements. This back-and-forth way of working seems to offer endless possibilities since its source is at least partly in the real world. That said, I probably make up almost as many of the images as take them from life, or at least reconfigure them until they bear little resemblance to what originally inspired them.
There is usually a point about midway through a painting where it becomes overwhelmingly self- referential until finished; I would term that a kind of formalism in that the decisions are then mostly internally driven. The various components have been distilled to their most essential elements and are tightly rendered in outlined flat areas of color that seem to squirm up against each other. An additional intimation of landscape comes through the frequent suggestion of a horizon line, along with the notion of contemplation that comes with that particular gaze. The severity of distortion of the “figure” in all the works is attenuated by their cheery Pop sensibility and all the paintings retain a strong component of abstraction.