Originals and Translations
Whether the work is an abstraction or representation, analog or digital, my creative process is the same and encourages cross-pollination between all four. Although I use digital processes and printing to make limited edition 'translations' of my paintings, each piece is first completed as an original artwork using traditional media.

Water makes inks and pigments bleed, blend, and run amok. My process encourages this irreverent behavior. First I flood water and pigment across a horizontal unprimed canvas. I add shapes and lines with paint and ink. Unpredicted and unbalanced elements appear as my painting process, a continuous realignment and re-balancing, unfolds. The idea is to coax line, color, and shape 'accidents' into associations that no longer appear to be accidental, and yet are removed from contrivance. Sometimes realistic representation of animals, fanciful objects, or even molecular structures, appear in the otherwise abastract composition.

The process unfolds, layer-upon-layer, wash-upon-wash, until disparate elements reach a kind of equilibrium. The painting is finished when the shapes, and the ideas they represent, become one.

Where do I get these ideas? I pull the shapes from nature, observations of light, the constructs of western abstraction, and the geometry of Asian color fields and line styles. The ideas come from the wonderful nexus of science, art, joy, empathy, and especially the unknown.