As with all art that I admire, mine emerges from a conversation of the present with the past––my images are drawn from a broad repertoire of historical references that have been distilled into a private iconography. My current practice could be compared to that of a stage designer building environments for plays that are written in reaction to the props being built. In this sense, I paint scenes on an imaginary stage, rehearsals of shape and color configurations in which the abstract forms are not so much actors in an unfolding plot but more like semaphores that only give signals, leaving viewers to draw their own conclusions. My compositions convey meaning but they do not offer up a cohesive narrative, because I want them to be simultaneously read as constructions, visible discourses on the business of painting, the quest for solutions to formal problems.