Painting is an investment in constraint, in a similar way that architecture bends and works within our complex landscapes and cultural matrix. My work is an eclectic “abstraction” drawn from soundbites, pattern and the built environment/grid. The paintings become ways I demarcate physical and psychological borders. This composite of influences on the work becomes an account of events and spaces, the painting serving as a surrogate souvenir.    

I continue to explore painting’s agency as I walk through my neighborhood, seeing and observing, hunting and gathering. The painter chooses what to keep as a prompt or motive for making a painting. Moving at three miles an hour, the neighborhood is like a theatrical set, one that allows entrances and exits from one yard and boundary to the next. By living in close proximity to neighbors, we experience so much together surrounding issues of class and gentrification, racial bias, surveillance and educational disparity. I think of my work in conversation with contemporary genre/history paintings, leveraging the use of a photo/collage aesthetic, capturing a moment in time.

For years my work has been a negotiation of restraint and abandon. Through my work I address the nature of representation through process (surface, space, color, gesture) and image (grid, screens, flags), usually parallel to titles. For years I have huddled around the warm and rambunctious campfire of abstraction and the familiar light of representation. Either way (and both), given the state of America at the moment, I appreciate the illumination.

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