Compositionally, I am painting the space between and around forms as much as the forms themselves. The composition and shapes I use on the canvas convey negative and positive spaces that alternate: sometimes the dark color recedes into a void, a nothingness; at other times, the darkness emerges to become the subject and the gradients of colors become the background. The gradients are a gradually dawning or dimming light source, an expansion, and a fleeting moment of time. Some shapes come close to touching but do not; there is tension and longing in that sliver of space between them. I work intuitively, painting the initial linework and shapes on muslin stretched over wood panels. During multiple reworkings, I fill in the shapes with colors, repainting everything in several layers and refining the edges as I go. I often apply a blended gradient of bright and/or complementary colors and a solid black made from a mix of deep blue and red oil paint. The resulting paintings evoke ambiguity and a realm of possibilities.