My work exists primarily as models of how I operate, the content being the very process of what I do to paint. I am interested in the transparency of this process, in the visceral transformation of act into material. This is often reached in my work through the pouring, cutting, or removal of paint, placing emphasis not only on how we perceive issues of structure, surface, construction, and appearance, but also how those perceptions allow us to delineate the value and degree of reality.
Similarly, the work often focuses on issues of form, color, time, and gravity; how they interrelate, form our framework for reality, and define boundaries. The notion that these concepts appear to be both general, and yet still not arbitrary, is a continuing motivation in the work.
I am also interested in creating a non-objective surrealism, something familiar that does not attempt to simulate reality – something unusual that appears to be unaware of its lack of explanation – something which exists without being reduced into its mere information, known and ignorable. I want my work to exist in this comfortably unfamiliar territory, to spur imagination and consideration, only to leave the viewer with the realization that the work is simply, and only, paint.
The confusion and intrigue created by the merging together of the symbolic and non-symbolic dichotomy of the surreal and the non-objective, forces the viewer into becoming more conscious of their own perceptions, awareness, and judgment. This forced induction of meta-consciousness is something I strive to achieve in all of my work.