I am an abstract painter. My work has been, and continues to be, part of an unfolding genealogy of different approaches that are in dialogue with the language of abstraction. Concern for the materiality of paint has been a constant, and the fact that the work is done on the floor allows for cooperation between the infinitely variable conditions of paint and the dynamics of gravity. The use of a variety of tools, some homemade, for the application of paint brings an immediacy, play, and distancing of the hand.

I am interested in an artistic process that has an optical result. I engage a reductivist strategy that doesn’t necessarily create a spare image. The reductivist strategy should be about questioning what is necessary in painting rather than empting out painting. I was looking at romanticist painters like Caspar David Friedrich and optical painters, and asked myself if I could mash up an optical romanticist painting. I think of the optical result as mannered thingness.