The sorts of places that engage me through painting have changed over time. Initially I was preoccupied with the position painting could have in my life, next the location within culture, and currently its place and possible impact on particular cultures.
My eye seizes a parcel of land that comprises space, time, color, form, depth and motion. But it is also dynamic including buildings, people, institutions, culture, memory and history.
By paintng on site, in a location, I begin to excavate and illustrate the particularity that is at the core of human experience, and emotional attachment with and for a place. This process makes my paintings more than illustrations of how things look, but consider participants, products, parts of what makes a place unique. At the same time the painting alters and participates in the place.
I use everthing around me: the people who engage me when I am working in public, the particular locations that seem to hold large pieces of the local narrative, which leads to new places I need to paint.
The "process" of making the painting and the material itself is the other subject of my work. I add and subtract, change over time; working the paint, the color and space over and over until it is right. The amount of paint, the direction of the mark, its size and weight must add up to a coherent visual unity. The entire painting is worked, and reworked, over and over, changing on site. I'm looking and seeing more and seeing differently. The piece evolves over time, occasionally over years. The paint, and the painting are worked until everything is in its place; dynamic and still; all at the same time.