I’m interested in the physical presence of painting. The surfaces of the work are important because they intend to reward close looking and investigation. I see my painting process as a reverse or positive excavation process. By this I’m referring to how accumulative processes of material determine the formation of negative spaces. When cavities or caves form over time, an effect is created in which the relationship between inside and outside, positive and negative, even past and present begin to compete for attention.  These negative spaces, which I refer to as “cavities” are formed from accumulative applications of paint through repetitive strokes of a single palate knife. This single choice of tool focuses me on the steadfastness of my process. Having one primary application method emphasizes the complexities that occur form a singular process over time. The result are forms that drift between certain dualities: vacant yet solid, ethereal yet earthly, weightless yet topographical. The amassing of layers become suggestive of geologic formations; cavernous and corporeal forms. Both suggest a feeling of anticipation, of being in flux.

To achieve optimal physical presence in a painting I become fully aware of each and every layer that is applied to the panel as a processual and dispositive decision. By presence, I’m referring to work that has the ability to stare back at the viewer. Every material decision that is applied is a response to the surface that comes before it. I’m interested in creating paintings that attest their own state of becoming, asking the viewer to participate in the event. This state of becoming is expressed to the viewer in that my paintings ask to slow down the process of looking through subtle visual differences and exchanges of color, texture and layering. By carefully building upon layers of material while attempting to keep them simultaneously exposed, I am promoting a certain sense of time unfolding in the work. This sense of time is a very slow one, a compressed time similar to the long periods of a glacial movement. My work engages with a slowness of process, but also with the slowness of perception.

My drawing process is in close conversation with my paintings, but through a different approach. They are also about an accumulative effect; an accumulation of form through individual meticulous marks over time. I think about them as peculiar growths. They are perpetually in transition.