About two years ago, I developed a strong interest in Theseus’s paradox. My curiosity was originally spurred by my uncle’s hobby of car restoration: I was fascinated by the idea that a metal structure could enter his shop and be completely disassembled and then reassembled with brand-new parts, all the while retaining the same identity. Everything that originally existed in that car was gone, but the gradual process of change allowed its character to remain.

To create a visual/conceptual backdrop for my paintings, I employ strategies derived from post-painterly and gestural abstraction, hard-edge painting, impressionism, and atmospheric perspective. The synthesis of these painting dialects gives each piece both object-presence and a dynamic spatial interior. There is constancy and interdependency in the “dynamic” gray-scale interiors and the often tri-color “static” borders, which, framelike and hard-edged, wrap around the painting.

I seek clarity and resolution in line, color, and form, while challenging viewers’ perceptions of surface and space through simple, precise gestures on wood.

I invent arrangements of colorful forms and bathe them in light. I try to capture a portrait-like snapshot of some ethereal subject, using imagery that appears to be simple, universal, and timeless. Lately, I have been excited about rocks and the ocean. I might contrive a portrait composition within a seascape, sometimes incorporating elements of the human form, and work on a large scale to lend life and monumentality to the image.