My current work revisits gestural abstraction as a means of achieving physical immersion in the painting process. The basis of this process is the physical act of moving paint, which is the physical act of moving light.
All colors are applied in large amounts onto a surface, then mixed in a series of overlapping strokes. Using brushes and spatulas, paint is spread over the surface until complete coverage and desired colors are achieved. Colors are integrated to different degrees, effecting both subtle and strident transitions.
This work is significant for me because it offers a way to fully engage in the painting process without the need to make it anything larger. Unlike mid-20th century gestural abstraction, my work is not intended to convey raw emotion or to access some archetypal visual language. Only by losing myself in process, material and color do I feel free to do the work I find most interesting and pleasurable.