My paintings start without a plan. I'm drawn to the space where the recognizable begins to unravel. Often a face emerges, not a particular person but a presence, something tangible for a viewer to hold onto. Other times, color, texture and gesture take over. I'm interested in what happens when control gives way to chance.
Thirty years of broadcast design trained my eye for color, balance and restraint. It also taught me to remove ambiguity, because a message had to land in a second. Painting is where I let it back in. I work with bold color and sharp contrasts, like acid green against red, looking for energy and movement that pull a viewer in before they know why.
I often ask what a painting would sound like. In Echo (2026), a cube drawn in clean black lines floats in a gray storm. I imagine buzzing, hollow metallic sounds ringing through space. Sound gives me a way into a painting's rhythm.
Since returning to painting in 2019, I've become fascinated by the relationship between structure and spontaneity, whether I'm working with a figure or abstract form. I let the image evolve through layering and scraping. Next, I want to take these compositions to a larger scale, where their energy and tension can be experienced more physically.
