I paint with pure pigment suspended in natural binders of my
own creation, which gives me a deeply saturated color, intense yet soft in its own way, reminiscent of the fresco painting
I so love. When I travel I hunt for new pigments, looking for rare and unusual colors. By now, I have several
hundred pigments in my alchemist's box.
For subject matter
I look to my individual unconscious for inspiration and at the same time, begin with an historical image of current interest
to me or an intriguing geometric order that serves as an aesthetic framework or simply certain colors, which might suggest
an appropriate form.
The beginning of
a painting is something of a mystery to me æ over the years I learned to keep the mystery at arms' length. As
I begin to work, I put down an image, let another emerge and paint a third, born of the first two that may very well contradict
them. As I paint, draw, build textures, revise, repaint and refine, the individual forms, geometries and colors erode
until the painting achieves a state of flux where each individual painting dissolves into another. At last, the surface
forms a skin that reveals a history of its own making. Through the process of random and purposeful acts I test my intuition
against my intellect.
These days I would
say my goal is to create a painting that has the feel of a picture, an abstraction of how a picture of a story might look,
engaging the viewer to enter and exit, somehow changed and be drawn back again and again, to discover.