Painting for me is a dance. When I am immersed in a composition, I feel as though decisions are being channeled through me from another source. Intuition and improvisation override the carefully planned shapes and lines which begin each picture. In the end, it is a balance of colors, values and forms, which become more in their relationship to one another than they ever could alone.

My recent work is primarily concerned with space as it relates to the subject and the viewer. In representational painting, the viewer begins to place him/herself into the picture space. By juxtaposing abstract elements with three dimensional representations of space, I aim to offer the viewer a new way of getting into the work.

I am attracted to creating new formations of space that contrast sharply with traditional ones. Abstract elements, such as flat, graphic shapes and arbitrary motifs distort representational depictions of perspective, anatomy, and light. Ideally, the combination provides a new and vivid sense of life.

My artistic sensibilities are informed greatly by my background in psychology and graphic design, as well as a love of the female form and a long-term interest in geometry. Formally, I am interested in the developments of the past century, which often savor the dichotomy of compositional harmony and discordance. I enjoy creating contradictory depth relationships which at once create depth and flatten space. My figures’ relationship to the ground is often interchanging, as elements from the latter shift in front of the former. I am inspired greatly by the work of several artists of the Bay Area Figurative Movement, including Richard Diebenkorn and Nathan Oliviera. Early twentieth century French and Catalan artists influence my sensibilities as well, including works by Antoni Gaudi, Pablo Picasso, and Joan Miro.

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