When I am succeeding as a painter, I like to think of myself as a tuning fork. I am at-tuned to the environment that is inspiring me; I have surrendered to the image that has overtaken my curiosity; I have absorbed the rhythms of whatever is calling me and now want to leave my own imprint. Color is crucial here. I try to use a vibrant palette to evoke what is overtaking me, so that I can best refract my emotion and my conception of “it” onto the canvas, then to my viewer.
Painting is thus a channel to my way of seeing the world. As I paint, I try to bring forth whatever is in my subconscious well. I constantly collect images to make sure the well is never dry – drawn in a sketchbook, logged in my memory, marked on the page of a found book, photographed from the lit screen of a paused movie. They strike any where at anytime and just like that my well is replenished. I typically begin with a sketch from one of these resources and try to let the work build naturally, layering images and fol-lowing natural paths that relate them to one another. Of course, I am expressing my in-teriority but also trying to tap into something harmonious amongst all of us, so that if the work succeeds, my viewer is able to relate their own experience to my work.