My process for creating a piece of art is dominated by composition.  My undergraduate studies frequently focused on photography, a field dominated by the importance of good composition.  It is a realm of visual exploration that relies on the positioning of a subject in a frame of visual space.  Anything that can be placed in this frame can be arranged to create the identity of a subject, such as identifiable objects, repetitive geometric features, textured spaces, fields of color, light and shadow, and negative and positive spaces.  With a focus on composition, my work evolved from a study of the visual space around me to the exploration of elasticity.  

My photographs became abstract in representation of motion with the recording of light source position overtime time.  This evolution eventually led to the exploration of improvisation in the form of painting, again dominated by strong compositional intentions.  Painting allowed me to start from nowhere, create anything, and ignoring the surroundings my camera relied on.  My method has always involved an exploration of different mediums with their limits and rules, how they can be manipulated, or broken and changed.  My current work involves pairings between the physical qualities of rolling paint pools,  gestural free line, and graphic sharp hard angular lines and color zones.  These pairings and applications of line and color are often performed on an improvisational level that acts like a call and response, a back and forth between quick frenetic lines and zones of color clashing with more intentional graphic and controlled lines.  The most complex choices I make in my work are the decisions of color and placement.

People often recognize characteristics of graffiti or street line in my work.  This has much to do with a particular compositional aesthetic and attraction of text graffiti. Even though most is illegible to me, I enjoy the energy of the color pairings, graphic lines, and angles, found in some incredible street art.  My intent is never to create artwork which emulates graffiti, but the features are found indirectly among my language of mark making.  These lines and textures in graffiti quickly attract a viewer’s attention towards a message my work does not demand. The goal is to create viewer adventure by building on the works of classic artists like Kandinsky, Gorky, and, DeKooning, and living artists like Julie Mehretu, Matthew Richie, and Andras Markos.  My work sees the line and color placement that exist in museum mark making language as an effort to develop a more solid understanding of medium, function, and composition.  The pairing of street and museum line is a logical step in creating powerful new work in abstraction. Street lines progressively add some of the newest forms of mark making language available to an already established museum language.   

I create this work because it is free and allows the viewer to be free.  It provides a sense of exploration into the unknown.  The sense of being lost in creation is the purest form of freedom I know.  The viewer should join the adventure with every glance and interaction.  It is full of question and progress towards new unknown destinations.  As Juan Gris said, “You are lost the moment you know what the result will be.”