The gestures and marks in my recent abstract oil paintings have evolved out of a daily sketchbook practice of drawing with my eyes closed. I then edit the marks with my eyes opened, keeping what I consider “authentic” marks and partially erasing other lines that seem predictable or conventional. The conscious erasure process is just as important as the unconscious mark-making. I’m not able to explain how or why I know whether a line or mark is authentic; it’s a balance of sincerity and innocence that my mind instinctively recognizes.

Typographic details have also been added to the paintings by using image transfers. I enjoy the way the strict geometry of the typeface contrasts with the graffiti-like scrawled lines and gestures. The words and letters are abraded, fragmented, or shrouded by layers of oil paint and wax.  The text is not meant to be legible. Rather, I am interested in the mysterious and evocative presence of language within a visual landscape. The painting becomes its own visual poetry, rooted in the nature poets I often quote from.