If I create ambiguity along with a few naturalistic cues, then maybe you create your own subjective reality. That is because you complete the image, you create the narrative and
 you project your own emotions. You will do a better job completing my painting with your own perfect mental image and personal narrative than I can.​

​

I’m fascinated by how the brain perceives color, line, value, and distance - how proximity alters interpretation. From afar, one of my faces may appear realistic; up close, it dissolves into abstract shapes and patterns.

​

​If I engage you with the eyes, I can work more freely elsewhere - suggesting some features, rendering others in detail. I can color outside the lines and trust your mind to resolve it. You assemble vague outlines, scribbles, and graphic vectors into a recognizable face.

​

I use a limited pallet along with metallic and iridescent colors that produce changing patterns with changes in lighting and angle of view. ​I drip, brush, pour, scrub and scape paint while applying a variety of marks.

 

Working digitally on my iPad, I treat the screen like a canvas, layering lines, dots, textures, and adjustments while taking advantage of my digital tools.

​

​​Cezanne and the seminal Cubists believed that time, the fourth dimension, could be incorporated in their work so as to cause the viewer to process and perceive their work as more real. They said they painted successive appearances in to a single image reconstituted in time. I see Cubism as a way of perceiving reality. 

 

I often paint multiple viewpoints, slight misalignments, inconsistent lighting, or subtly different expressions within the same face. I combine flat and dimensional elements. These variations may feel more real because perception itself is shaped by time, memory, and prior experience.

​

I paint both with acrylic paint on canvas and digitally with my iPad. My digital-hybrid paintings combine traditional painting, digital drawing and photographic manipulation.

 

Each begins with a repurposed high-resolution image of one of my large-scale, unfinished acrylic-on-canvas works. I transfer the image to my iPad, where I continue to draw and build layers of marks and graphic elements. Using photographic tools, I dodge, burn, saturate, and resize the image, creating a new, original work entirely by my hand. These pieces are displayed on monitors, projected at theater scale, or printed on a variety of media including dye sublimation on aluminum.​

​

Accidents and experiments are central to my process. A drip may be random; what I do with it is not. I work freely, observing and exploiting unexpected effects, turning problems into possibilities. Each painting becomes a series of fresh starts - a surface repeatedly disrupted and rebuilt. My expectation of the image evolves as the painting evolves.​​