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.