A painting contains more than it can hold. I think about how a painting is described as a window, a door, a mirror, or a stage, and how all of these are framing devices for seeing an event happen. What is obvious slaps the blank canvas. Only so much can happen, yet something does. Although dedicated to an abstract sensibility of form and color, my recent work results from perceptually documenting my personal space; a space I know too well. The process is of framing and editing in relation to my body's ability to see and feel a certain quantity of things at once. Each painting documents an experience of being there, with the psychological and mental wandering that happens within a physically specific space. The three paintings reproduced here are titled with reference to Feng Shui, because I am interested in the similarity between it and the practice of painting. Both practices evaluate and create narratives regarding spatial arrangement and the extremities of the rectangle. Having my studio in my living space for the last year prompted this series of four paintings, one of each corner of my apartment. I like the idea of how, according to Feng Shui, the Chi energy tends to stagnate in internal corners and how this is similar to a formal discusssion of the self-reflexive qualities of painting.