I often use the vocabulary of sound to describe what I’m doing with a painting. I see my paintings deconstructed through the gestures that made them, imbuing them with an active element of time more associated with sound performance. While the actual gestures are not sound-related, the conceptual framework generating them lies in a visualized sound phenomenon. For example, I’ve employed feedback, chance composition, and improvisation as strategies for making a painting. These methodologies form systems of composing the multiple layers within each work.

The result is a painting of layered visual vocabularies. Figurative elements temper the painting’s modernist overtones, and conversely, abstraction dilutes the emotive pull of figuration. Tight control clashes with free gesture. The rubbing of these disparate vocabularies speaks to negation, a flattening of conventional hierarchies. This oppositional structure conceives the painting.