STATEMENT OF WORK

Although painting is where all my projects begin, I frequently find myself in the realms of architecture, theater, decor and applied arts. From the intimate architecture of the medicine cabinet to large scale shop windows and public art installations, my spaces are populated with stylized forms, eccentric perspectives, flickering patterns, and pastel and hothouse hues. My personal engagement with geometry is inspired by observing how human social behavior penetrates and activates onjects, surfaces and veneers. I mine the studio as an arena in which all things are possible. The observable reality of my surroundings leaks into each drawing, creating parables of my process and career, a forensics of my habitual workplace tools and arrangements. The light fixtures, ladders, doorframes, rulers, notebooks, worktables and handmade "products" all perform a diaristic function. 

These drawings are stage sets, cartoons -  invented figures migrating throughout my works like actors on a stage, disappearing here, re-appearing there.

In addition to collaborations with fabricators and artisans, I conduct my own research and development into varied craft and technical modes such as drawing using carbon transfer, drypoint etching and monotype, paper marbleizing and hand built ceramics. These are "engines of drawing" that reconcile the handmade with the mechanical or digital. They allow me to collaborate with chance. They yield new expressions that interact with my painter's sensibility of what constitutes a picture, a visible thought. 

Representation and abstraction are equally present and not at all important. Sometimes noticing things in front of me is urgent. At other times, a handmade conceptual structure, a note to self are sufficient.

I have maintained an active sketchbook library, numbering 78 books currently, each one hand-bound, filled with an archive of thoughts and images that appear throughout my work over the years.