The relationship between figure and ground has always been an important exploration in my work. In essence, my abstract paintings navigate the relationship between the inner and outer, self and other, through the juxtaposition of hard and soft edges and the meeting of intense color combinations.
My work is influenced by 20th century art and design in form and Eastern philosophy in concept, particularly the idea of an interconnectedness and non-duality. These muses play out in the reciprocation between the background and foreground of my work. Layers, lines and dots are distinct elements, but none is more important than another. They employ a flatness that is taken from the Modernist sense of space, which pushes positive and negative space front and back, to and fro. I allow the paint to be expressionistic in some areas and obsessively controlled in others. These visceral layers point to the idea that we ourselves are fluid and ever changing. I complete the connection with a visual give-and-take where opposite forces are interdependent.
While the works are concerned with the formal aspects of painting, like color, form and gesture, I rarely allow the mark of the paintbrush to remain. Areas of color are smoothed to obscure the mode of creation in order to keep the view focused on what the work is doing, not on the gestural quality of paint application. This allows the work to assert itself, moving beyond references to the traditional process of painting and creating a sense of magic and mystery.