In the convergence of how I see and feel form, I find that I cannot separate the human figure from the forms of the landscape.  We are innately intertwined with the physical world.  I begin with the human figure, or a collage of figures or memory of landscape.  Over time, certain common notations have evolved, becoming part of my personal mythology, a conscious vocabulary that helps me negotiate the language of form.

I have always been fascinated with what I call transitional environments, the spaces of the in-between, the point of discord and discourse, of prospect and refuge.  The line of the drawing becomes a transitional space, something to encounter.  In a sense, I paint multiple paintings over each other, borrowing bits and pieces from the previous layer, sometimes erasing and scraping the image to retrieve the composition or gesture from below.  A sense of depth and play of light emerges from the lineal and volumetric tension created by the additive and deductive processes and the translucency of the painting surface.

CV