For the past twenty years, I have simultaneously worked in several mediums. Specifically as it relates to painting, I have been investigating how the geography of space, color, and deconstructed forms can be both an attraction and/or deterrent. I am interested in the process of undoing—making paintings that border on being seemingly elegantly unresolved. Perhaps if one looked long enough, the painting would shift slightly, fall apart, or tighten up. I like the awkward and clumsy interlaced with clarity, as it provides multiple viewpoints to contemplate, much like thought patterns. Paint is layered up, removed, and then covered up again. It is not an intellectual activity and relies completely on process. I use various instruments, such as a razor blade, belt sander, dremel, or just an old piece of metal. The surface is unearthed without getting mired down in the conscious detail of result. This physicality plays an important role, and wood supports are employed to accommodate.