One of my hopes for my painting is to liberate color from fixed cultural meaning. To pry color from signifying something outside itself. And to investigate what Matisse referred to as the “tactile vitality” of color. Even when color is named, it exceeds the word. At the same time, perhaps paradoxically, I’m fascinated by how using paint, the brush, the pencil, the print or what have you, on a “two-dimensional” surface, one can describe forms and space and therefore suggest something in the physical world.
I like to start my work with an unfixed idea that starts with a choice about materials. Or a particular color or sensation that perceiving light takes on. With that choice comes an attitude or a particular positioning. Through the process, it’s important that I maintain that attitude and excitement. I want my work to always maintain a feeling of evolving and movement, an experiential fluidity.