The work is based on nature, not a depiction but rather the memory of experience. Within these memories, figuration whether derived from art historical references or inventtion move in and throughout. The continuum of time, movement, and space, in and of itself, denies visual and physical “reality” as well as one’s “place” in such a reality.

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Figuration and abstraction become one yet remain undefined. Visages of nature are mediated by freely associative and emergent form and space. The notion of picture plane is both affirmed by surface and contradicted by implication. 

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Nature, movement, and mark find inspiration in the language of Corot, Rubens, Delacroix, and abstract expressionism.  Unexpected configurations develop. Disjointed elements and superimpositions produce dislocations from the “normative.” Working from memory of the physical world, experience and emotion persist. 

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The work exists in the pursuit of location; something of erosion and transfiguration. The space or compression between things is mysterious. Figuration works to concurrently lose and reaffirm identity and spirit. I work to dissolve precision toward a new kind of clarity; to stop and start time.