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Utilizing blocks of color, these works begin with a loose, asymmetrical structure that provides a foundation and foil for the layering of the gestural, expressive passages that follow. The formal aspects of the painting are always in the back of my mind. I seek a balanced composition with the elements of color, line and shape in harmony. On the other hand, I can't help but delight in what happens when the intuitive, spontaneous and accidental take over; acid green drips into a field of grey like weeds growing out of cracks in the sidewalk. Control and abandon, gesture and grid, now and then; the pendulum swings back and forth, finally one realizes it is all part of a continuum.



I am drawn to the in-between times of dawn and dusk, atmospheric conditions like fog and mist when colors and sounds are muted and the world seems still. I feel an affinity for the work of the turn of the century (1900) Luminists and the Color Field painters of the 1960's.

This group of paintings, with their tonalist, muted colors, evokes a mood of reverie and quietude. My process involves laying down fields or patches of transparent color, blotting and smearing to achieve a depth and patina that add a sense of mystery.  These dreamy passages are interrupted by small flickers of bright color, amorphous shapes and bits of line as if the calm silence was disturbed by a flash of wing, the rustle of leaves or a ripple of current.