Absurdity, as a concept…can transcend immediate frustration by asking the viewer to question, not only what they are seeing and feeling, but, more importantly, why they are questioning their awakened uneasiness. Hopefully, the dichotomy only increases when one is seduced by the richness of the painting’s surface and the enticing vividness of color… Arnold Mesches, […]

Eventually a structure that pleases me starts to emerge. Sometimes shallow space, sometimes deeper space reminiscent of a landscape or an interior. I want imagery in my work to be difficult to pin down…I want the viewer to be able to enter into an open-ended dialogue with the work, the same process that brought me […]

…so much of painting is this. It’s a recalling and churning up of experience and memory that can never be planned, relied on, or trusted. But my process requires trust. I begin with random marks and colors that over time coalesce… . Little by little, the anxiety lessens as…decisions are made and options grow fewer […]

What this painting confirms for me is that the painting process is an exchange between internal and externalized aspects of the artist’s subjective, emotional life. Intense looking and reacting to one’s own marks and moves on the canvas over time constitute the substance of that exchange. Ultimately, even when I start with a model, I […]

I’ve been home from Italy since the beginning of September, so these images, these residues, are distillations of memory that can only come with time. Unlike working directly in nature, maybe what monotypes offered me, from the beginning, was a way of reflecting on an aspect that…is absolutely impossible to approach or to understand sitting […]

Since then, I feel less and less the need for words to accompany the process of my work, and more engaged with how the unconscious functions without them. Despite the endless number of words, descriptions and characters it carries along the way, the experience it left me with was quite the opposite—a new freedom to […]

…I felt I’d gotten the light I wanted. It looked and felt like water at night. The layering and pale pink over dark purple created the effect of light bouncing off a surface and I recognized a kind of transparent glow that had happened in the course of painting the barges… Katherine Bradford, “Night Divers.” […]

Each of us will have a unique compilation of remembered sensations and it is how this material shapes our work that will distinguish my paintings from those of the next painter. We really don’t have all that much control over what we produce when we work from within. What unfolds on the canvas evolves slowly. […]

Thoughts and ideas move around without any gravitational pull as if weightless. Painting earth’s experience; it grounds it in the real. The day to day can find its way into the work, a certain experience or event can be referenced, perhaps seemingly very minor and insignificant, and I wonder what is it doing showing up […]

I was printing pictures of–or by–musicians almost everyday, the lab was a comfortable place to be, the darkroom quiet, and we kept the conversation to the images. I wanted to ask him so many questions, all the time, but kept it to a very minimum. That time, in my darkroom with Lou Reed, was about […]