STATEMENT

My work draws on the natural world at its most forceful: crystalline rock formations, hydrothermal chemistry, and the movement of water currents. I approach landscape as a visual field rather than a scene to be described. Overlapping shapes and branching patterns become starting points for abstraction. The paintings keep something of the landscape's force but leave its identity and scale unresolved.

I paint on both the front and reverse surfaces of glass. Starting in reverse inverts the order of construction: the first marks remain closest to the viewer, and later layers accumulate behind them. In this medium color and translucency are bound together. Thin passages glow because light passes through them and returns; opaque areas define edges and interrupt depth. Paint applied to the front adds exposed texture alongside forms seen through the glass. The image shifts between the physical surface of the panel and the space suggested beneath it.

Working in stages and allowing pigment to flow and settle between interventions, it branches into networks or gathers in deposits that I guide but cannot entirely prescribe. I respond by deciding what to preserve and what to obscure. The resemblance to tributaries or geological strata comes not only from the finished image but from the way it takes shape. A painting is finished when it seems to have formed rather than been painted; when my intent and the movement of the material are no longer easily separated.