My most recent works (the “park” paintings) explore the dichotomy between painting as object and painting as window. I want the works to push and pull, to “feel” like inert colored mud but to open onto a vision that conveys movement and distance and atmosphere.
I’m a musician as well as a painter. When I paint, I try to reach a sort of intuitive, “in the moment” creative state that relates to the extemporaneity of jazz. Improvisation is marked by the simultaneous construction of and creative departure from internal melodic structures—I see painting as a parallel visual project. The inherent relativity and subjectivity of perceived colors is integral to this process. I hope to use the interaction of colors within a painting to create a kinetic energy that both works with and transcends the structural limits of its drawing.
I choose to paint because the slow drying time of oil, a six-hundred-year-old medium, encourages me to think and react in a deliberate and thoughtful manner. I am interested in making slow paintings that shift and move, paintings that reveal themselves in time as the viewer’s eye flits across the surface.