This project is an exploration of the painting process. Every aspect of painting carries weight: The building of the support, the choice of tools and materials, the qualities of the mark-making and the physicality of the object itself. I engage with a variety of technical and conceptual methods, drawing inspiration from both contemporary and historical artists. Some methods are linear, with specific objectives for what the painting will become and how that will be achieved. Others are labored and indirect, dealing more with the language of painting itself. Tension created by the conceptual and aesthetic dichotomies between works is just as important as the paintings individually.

Learning how to paint saved my life. Painting came to me at a time when I really needed it and it quickly became the primary focus of my artistic practice. The subjects of my paintings are eclectic. My work moves between geometric and gestural abstraction, monochromes, minimalism, and representational imagery derived from digital sources. The most consistent through-line in my work is layering. I frequently over-paint the same surfaces for months or even years before arriving at a completed painting. This a two-stage process. First comes a layering phase that is about building up the paintings. It gives the surfaces a feeling of the passage of time: becoming about the action of working rather than image-making. This process can be slow because I find putting a work aside for extended periods of time very useful. Time lets me lose contact with a painting so that when I return to it, I feel like I am seeing it for the first time. The second phase is “fusing”, where I create a final layer with the dual purposes of being the dominant image of the painting and a unifying action between all of the layers.