Statement

My paintings are isolated ecologies that geometric forms materialize out of and disappear into. Each form is a simple shape not overlapping or touching any other, existing in a single-colored space that, together with the forms, is contained by the edges of the surface. Forms sometimes have appendages that extend from their inner shapes, giving them more eccentric identities and complicating their compositional relationships. These appendages may appear to be essential parts for some biological or mechanical function, like antennae or antennas, or as a kind of semiotic marking, like an accent mark. 

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Forms might appear to be in competition or in harmony, synergistic or simply coexisting. Their groupings may seem celestial or microscopic or, like clusters of sound within the enveloping hum of the ground color, musical. But ultimately, they are concerned with their internal mechanics and are not references to particular objects or systems. As each ground color and form possesses a unique energy and gravity, each painting becomes a collective push and pull of forces exerted and absorbed across the space. My playful management of this interrelational soup results in a whole that is activated and engaged—settled, but not without agitation.