In the studio it's all about the moment. I don't think about lessons learned or advice given, though they are all there. I try my best to not think at all. Working this way over years, I fall into a rhythm and state where a thousand simple decisions come down to instinct. I rely on there being all the information and experiences I've collected, but to not consciously considering any of them when I paint.

There is a base connection we have to the human form. It's visual weight is enormous, even in its generalized or abstracted form. For me the figure is on one side of the scales, the expressive mark on the other. I love how little figure it takes to give solid ground for color and marks to play off of. Interest in this innate connection to the figure is what has caused most changes in how I approach my art. I enjoy anonymity due to the way it encourages interpretation, and concealing the identity of figures and environments is an invitation to the viewer. In my work I've created starting points from which the viewer can play.

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