These new paintings continue my exploration of compressed surfaces and contrasting approaches to scale as components of abstract painting. They begin with my personal language of color and marks. I paint with big, quick movements as well as with small, measured ones. Manipulating the visible flow of marks and the internal space of the painting introduces elements that are implied but not clearly seen. I bury visual treasures, and decide later if they will be excavated or left below.
 
Creating dynamic energy is a universal art challenge. Many realistic painters that I admire juxtapose two ways of rendering space within one painting. They flatten, and they inflate. Working abstractly, I emulate that duality, trying to create an environment that is unsettled, stimulating, a bit confusing but very dynamic. I look for both an outward force and an inward pull, a delicacy and a coarseness, creating juxtapositions that gradually become alliance. I aim to bridge discordance and create a picture of charged equilibrium. My work joins bold with mysterious, frenetic with calm, chaos with order, all while looking for the near-balance point that says alive. 
 
Creativity becomes humanistic when it gathers flaws and moves them together toward grace. The German abstract painter Albert Oehlen said “People don’t realize that when you are working on a painting, every day you are seeing something awful.” My job is to improvise an accumulation of failures until their totality becomes a startling but compelling rescue, a moment that feeds the soul. I am looking for an art that lives on the edge, a tension point between order and chaos that reflects the energy of the world around us, craving its tantalizing excitement and strange beauty. I find exuberance absolutely gorgeous, bright, and worthwhile.