I often see painting as a challenge to uncover some deeply hidden structure, and in the process hopefully reveal some larger truth about our lives and our ability to perceive them. Only when I am convinced of the presence of an inherent structure in the work do I feel that the painting is going well. I look for webs or other devices of connectivity within the painting. Mistakes in the mark making process generally assist me in uncovering this structure, and what begins as a systematic series of marks usually devolves into a morass of broken arcs and half starts of slippery, wormy loops and tendrils. More and more lately I am blurring the barriers between painting and drawing by embracing drawing’s spontaneity, immediacy, sense of action and on-the-fly revision. The animator’s sketch comes to mind.

While I paint it feels like I’m communicating some notion of the simultaneity of our everyday experiences. Reflective surfaces work to the same end. The metallic passages suggest to me mirroring, doubling, invisibility and glamour. I like the idea of a painting that cannot be viewed in one way only. Different viewing angles and environments reflect light in interesting ways and alter our perceptions. This also relates to the way I function in my environment, constantly looking into and through screens, veils of meaning, both literal and illusory, receiving and assembling scattered blobs of information, making loopy associations between image, text and language. Through painting I am able to relive and project this experience of confusion, depth and ecstasy. In this way it is like free jazz, open-source code, or improvisational comedy.