I tend to work quickly and in a reactive way, using various materials to apply and remove paint. As I create, the journey is a conversation between the piece and myself, affected by whatever thoughts I am concerned with when I work. The lines that sweep across the compositions have an essence akin to calligraphy, yet they communicate my process of interacting with each piece rather than a verbal language. I am never quite sure of the next step, but everything is influenced by what came before. Each mark creates a need for the next mark until the whole work is fully composed into something mysterious even to myself, whose hand was present throughout the creation.
I do not intend to form any distinct imagery. The mind, however, flows from experiences of the past, and often imagery and emotion are inevitable when viewing non-representational art. Everyone is affected by personal history, giving each viewer a unique perspective. I’m fascinated by the variety of responses evoked by one piece and how there is no perfect understanding.
Imperfection is beautiful to me, and I embrace it in my own work as evidence of humanness. I stay true to the process of creating by not “cleaning up” the final form. It is important to me that I am honest with each step of the work’s development and do not place more emphasis on the most visible outer layer. The edges that seem unfinished are as much a part of the piece as the central composition because of the history they hold.